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"content": "\u003cp>On 17th and Telegraph, on the backside of \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media’s\u003c/a> Oakland headquarters, there’s a mural that stretches the length of the three story building. The colorful artwork was painted by \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and shows two people: one with their fist raised to the sky wearing a shirt that says “they/them”, and another person looking calmly at you, sort of inviting you in.\u003c/p>\n\u003cp>The models for the mural are artist and musician \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">Stoney Creation\u003c/a>, and \u003ca href=\"https://www.instagram.com/yxnibrmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanni Brump, \u003c/a>a non-binary model, event producer and public speaker.\u003c/p>\n\u003cfigure id=\"attachment_13887640\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/MuralYRMedia-800x774.png\" alt=\"Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-800x774.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-1020x986.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-768x743.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia.png 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was familiar with both Goldsmith and Stoney Creation before, but I didn’t know Yanni until I posted a picture of the mural. A friend tagged Yanni in the post, and looking at their page, I got a glimpse into all the things they do.\u003c/p>\n\u003cp>I reached out to Yanni and learned how they went from shy, to living their life unapologetically. Now you can see them posing for Vogue, walking in New York Fashion Week, speaking at protests, using TikTok videos as a tool to teach self love and being the face of this HUGE MURAL in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13887653\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/unnamed.jpg\" alt=\"Yanni Brump\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, Yanni Brump gives us a crash course on finding the \u003cspan style=\"font-weight: 400\">courage within to trust in yourself.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8000011339\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Yanni Brump.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: Bring us into your world, what are you known for?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I start to say things about me, I usually like go back to childhood… I’m the oldest of seven kids. I was raised by my grandmother. I was a second parent in my household. I feel like I have a lot of umph. And whatever I say I’m gonna do, I do it. That has a lot to do with my upbringing and how I was raised by very strong, powerful Black women. They instilled that in me… Very big energy. I’m outspoken. And you’re going to notice me and I feel like it’s for good reason that I’m that way. I feel like my purpose is to shed light on as many people as I possibly can and to bring love and to show people there’s a way to just truly and authentically be yourself. Just being me is literally helping other people just be them…\u003c/p>\n\u003cp>I started producing a queer fashion show called Limitless, which was to bring more representation in the fashion industry for queer people, trans people, black people, indigenous people.\u003c/p>\n\u003cfigure id=\"attachment_13887652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg\" alt=\"Yanni Brump walking the runway.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405.jpeg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump walking the runway.\u003c/figcaption>\u003c/figure>\n\u003cp>And I ran with that. I took it and I was like, this needs to be brought to so many other people… who need a place to feel like they’re them. Just a space to just exist and to be their whole self. So I started doing a day party, Drip Bay Area, which was for us to have a safe space, to come to a party, but also to just be together and feel safe in our space.\u003c/p>\n\u003cp>And then I’m working with Tik Tok. I just partnered with them to do a creative learning fund where I am basically doing videos, advice, tips on self care and self love.\u003c/p>\n\u003cp>\u003cem>PEN: I’m over here smiling because you just ooze with community passion. Like anybody who knows me knows that’s what I’m about. So, when you talk about self-love, what is your definition of it?\u003c/em>\u003c/p>\n\u003cp>YANNI: Wow, OK. [laugh] Self-love is you accepting all of you wholeheartedly, unapologetically. It’s the way you look at yourself. It’s the way you think about yourself. It’s how tender you are with you, when you’re maybe not meeting your expectations. It’s how you show up for you. I’m still working on it, but I’m working on it…\u003c/p>\n\u003cp>Expressing gratitude everyday, I would say, is like one of my top things, because the flow of abundance that comes from that is out of this world. I always feel like I’m living in a state of where I can give to other people, and every day is not going to be great. But being tender with yourself and being kind and speaking nice to yourself through it – it’s so much better on the other side. [laugh] It is.\u003c/p>\n\u003cp>\u003cem>PEN: Yeah. You are greener where you water your grass. But at one point, you were shy. How did you break out of being shy to being on TikTok and on the side of a building and then all the things that you mentioned?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I was younger, I would be considered what they would say “overweight.” I was bullied. I didn’t love myself. I didn’t really know who I was. I was in denial for a really long time about my gender and my sexuality. And I had an ex-partner of mine who was doing runway, and I was super inspired by her. And she took me to a casting. I didn’t want to go at first. But at the time, I identified as a woman and they were asking for masculine women to be in the show. And so I went on a whim and they made me walk in front of all these people. And I was like scared. But I did it. I did it. I kept doing it. And it and it starts to give me a sense of confidence. To just be me on a runway in front of all these people. Didn’t matter who was looking at me, what they thought about me. I was just able to be whatever version of myself that I chose to be.\u003c/p>\n\u003cfigure id=\"attachment_13887654\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg\" alt=\"Yanni Brump\" width=\"750\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74-160x161.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>Honestly, it felt like a portal or like me jumping into another version of myself. That was when I finally felt limitless in my life. I felt like I could do whatever I wanted to do. And I think it didn’t solely come down to me. I think that it had a lot to do with my ancestors who I feel chosen by. And I know that they saw something or enough in me to actually, like, live it out. And they rejoiced. And so much joy came in my heart and I’m actually here every day pushing to do it. And I know that that made them happy, too, because I could feel it like. And I and I know that I’m doing the right thing.\u003c/p>\n\u003cp>It feels great to be like, I’m in vogue! There is a black nonbinary person there existing and I’m unapologetic. There is a black non binary person there existing and I’m unapologetic. I have a fucking tattoo on my face. I have fucking tattoos all over my fucking body. I’m not going to sit here and conform to what you want for me. I’m gonna just fucking be me. Too many people died before me for me to stop. And to not be a part of the revolution. Like, no. I feel wonderful. So I just know that it’s possible because of. I’ve done it so far, which means that I could do all of it. And I’m going to keep doing it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On 17th and Telegraph, on the backside of \u003ca href=\"https://yr.media/\" target=\"_blank\" rel=\"noopener noreferrer\">YR Media’s\u003c/a> Oakland headquarters, there’s a mural that stretches the length of the three story building. The colorful artwork was painted by \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and shows two people: one with their fist raised to the sky wearing a shirt that says “they/them”, and another person looking calmly at you, sort of inviting you in.\u003c/p>\n\u003cp>The models for the mural are artist and musician \u003ca href=\"https://www.instagram.com/stoneycreation/\" target=\"_blank\" rel=\"noopener noreferrer\">Stoney Creation\u003c/a>, and \u003ca href=\"https://www.instagram.com/yxnibrmp/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanni Brump, \u003c/a>a non-binary model, event producer and public speaker.\u003c/p>\n\u003cfigure id=\"attachment_13887640\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887640\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/MuralYRMedia-800x774.png\" alt=\"Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph\" width=\"800\" height=\"774\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-800x774.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-1020x986.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-160x155.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia-768x743.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/MuralYRMedia.png 1150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Rachel Wolfe Goldsmith on 17th and Telegraph \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I was familiar with both Goldsmith and Stoney Creation before, but I didn’t know Yanni until I posted a picture of the mural. A friend tagged Yanni in the post, and looking at their page, I got a glimpse into all the things they do.\u003c/p>\n\u003cp>I reached out to Yanni and learned how they went from shy, to living their life unapologetically. Now you can see them posing for Vogue, walking in New York Fashion Week, speaking at protests, using TikTok videos as a tool to teach self love and being the face of this HUGE MURAL in downtown Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13887653\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/unnamed.jpg\" alt=\"Yanni Brump\" width=\"750\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/unnamed-160x107.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>This week on Rightnowish, Yanni Brump gives us a crash course on finding the \u003cspan style=\"font-weight: 400\">courage within to trust in yourself.\u003c/span>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC8000011339\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Yanni Brump.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: Bring us into your world, what are you known for?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I start to say things about me, I usually like go back to childhood… I’m the oldest of seven kids. I was raised by my grandmother. I was a second parent in my household. I feel like I have a lot of umph. And whatever I say I’m gonna do, I do it. That has a lot to do with my upbringing and how I was raised by very strong, powerful Black women. They instilled that in me… Very big energy. I’m outspoken. And you’re going to notice me and I feel like it’s for good reason that I’m that way. I feel like my purpose is to shed light on as many people as I possibly can and to bring love and to show people there’s a way to just truly and authentically be yourself. Just being me is literally helping other people just be them…\u003c/p>\n\u003cp>I started producing a queer fashion show called Limitless, which was to bring more representation in the fashion industry for queer people, trans people, black people, indigenous people.\u003c/p>\n\u003cfigure id=\"attachment_13887652\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg\" alt=\"Yanni Brump walking the runway.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/IMG_2405.jpeg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump walking the runway.\u003c/figcaption>\u003c/figure>\n\u003cp>And I ran with that. I took it and I was like, this needs to be brought to so many other people… who need a place to feel like they’re them. Just a space to just exist and to be their whole self. So I started doing a day party, Drip Bay Area, which was for us to have a safe space, to come to a party, but also to just be together and feel safe in our space.\u003c/p>\n\u003cp>And then I’m working with Tik Tok. I just partnered with them to do a creative learning fund where I am basically doing videos, advice, tips on self care and self love.\u003c/p>\n\u003cp>\u003cem>PEN: I’m over here smiling because you just ooze with community passion. Like anybody who knows me knows that’s what I’m about. So, when you talk about self-love, what is your definition of it?\u003c/em>\u003c/p>\n\u003cp>YANNI: Wow, OK. [laugh] Self-love is you accepting all of you wholeheartedly, unapologetically. It’s the way you look at yourself. It’s the way you think about yourself. It’s how tender you are with you, when you’re maybe not meeting your expectations. It’s how you show up for you. I’m still working on it, but I’m working on it…\u003c/p>\n\u003cp>Expressing gratitude everyday, I would say, is like one of my top things, because the flow of abundance that comes from that is out of this world. I always feel like I’m living in a state of where I can give to other people, and every day is not going to be great. But being tender with yourself and being kind and speaking nice to yourself through it – it’s so much better on the other side. [laugh] It is.\u003c/p>\n\u003cp>\u003cem>PEN: Yeah. You are greener where you water your grass. But at one point, you were shy. How did you break out of being shy to being on TikTok and on the side of a building and then all the things that you mentioned?\u003c/em>\u003c/p>\n\u003cp>YANNI: When I was younger, I would be considered what they would say “overweight.” I was bullied. I didn’t love myself. I didn’t really know who I was. I was in denial for a really long time about my gender and my sexuality. And I had an ex-partner of mine who was doing runway, and I was super inspired by her. And she took me to a casting. I didn’t want to go at first. But at the time, I identified as a woman and they were asking for masculine women to be in the show. And so I went on a whim and they made me walk in front of all these people. And I was like scared. But I did it. I did it. I kept doing it. And it and it starts to give me a sense of confidence. To just be me on a runway in front of all these people. Didn’t matter who was looking at me, what they thought about me. I was just able to be whatever version of myself that I chose to be.\u003c/p>\n\u003cfigure id=\"attachment_13887654\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg\" alt=\"Yanni Brump\" width=\"750\" height=\"755\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74.jpeg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/5ADA3D5F-925C-4974-B2AE-12E749958E74-160x161.jpeg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Yanni Brump\u003c/figcaption>\u003c/figure>\n\u003cp>Honestly, it felt like a portal or like me jumping into another version of myself. That was when I finally felt limitless in my life. I felt like I could do whatever I wanted to do. And I think it didn’t solely come down to me. I think that it had a lot to do with my ancestors who I feel chosen by. And I know that they saw something or enough in me to actually, like, live it out. And they rejoiced. And so much joy came in my heart and I’m actually here every day pushing to do it. And I know that that made them happy, too, because I could feel it like. And I and I know that I’m doing the right thing.\u003c/p>\n\u003cp>It feels great to be like, I’m in vogue! There is a black nonbinary person there existing and I’m unapologetic. There is a black non binary person there existing and I’m unapologetic. I have a fucking tattoo on my face. I have fucking tattoos all over my fucking body. I’m not going to sit here and conform to what you want for me. I’m gonna just fucking be me. Too many people died before me for me to stop. And to not be a part of the revolution. Like, no. I feel wonderful. So I just know that it’s possible because of. I’ve done it so far, which means that I could do all of it. And I’m going to keep doing it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Townfolk Project, Documenting Oakland’s Community",
"headTitle": "The Townfolk Project, Documenting Oakland’s Community | KQED",
"content": "\u003cp>About two years ago photographer \u003ca href=\"http://www.rkwlcrtv.com/\">Scott La Rockwell\u003c/a> started taking photos of longtime Oakland residents and interviewing them about their roots in the Town.\u003c/p>\n\u003cp>He published the pieces online, calling it: \u003ca href=\"https://townfolkproject.org/\">The Townfolk Project. \u003c/a>Initially, he planned to take photos of 100 folks from a cross section of backgrounds and neighborhoods. But with COVID-19, things slowed down. He’s sitting on about 30 published interviews on his \u003ca href=\"https://www.instagram.com/townfolkproject/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram page\u003c/a>.\u003c/p>\n\u003cp>But this past summer, when store owners boarded up their buildings to discourage any vandalism that might come after peaceful protests, Scott’s project got an unexpected canvas: the windows of a building on 13th and Broadway.\u003c/p>\n\u003cp>Now, about a dozen of Scott’s photos of artists, activists and folks who’ve been putting on for the greater good of Oakland are mounted on one of the most prominent corners of the city.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3535806204\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>This week, we talk to Scott La Rockwell about the importance of showing the community to itself, especially at a time when people are so divided.\u003c/p>\n\u003cfigure id=\"attachment_13887341\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887341\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Image-from-iOS-12-800x1067.jpg\" alt=\"Scott La Rockwell's photos mounted on 13th and Broadway in Oakland.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott La Rockwell’s photos mounted on 13th and Broadway in Oakland. \u003ccite>(Scott La Rockwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of conversations I’ve had with Scott La Rockwell. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">What is your mission as an artist, as a photographer?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>Scott:\u003cspan style=\"font-weight: 400\"> Stories, I really enjoy getting photos of people that tell stories. And then I love finding myself in places, taking photographs where people are like, how the hell did you get that? Whether it’s a \u003ca href=\"https://www.instagram.com/p/B2rvxPThEsa/?utm_source=ig_web_copy_link\">photo of the Bay Bridge through the Bay Bridge\u003c/a> or a Hells Angels funeral. I just love finding stories in little niches in people’s lives to share with people.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">What have you been doing over the past six months of shelter in place? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>Scott: \u003cspan style=\"font-weight: 400\">A lot of downtime for sure. The market has slowed up a lot, especially because of all the social distancing. But I have been fortunate enough to do a good amount of work for two clients, \u003ca href=\"https://wck.org/\">World Central Kitchen\u003c/a>, which is a nonprofit run by chef José Andrés, helping to keep restaurants in Oakland open. It’s receiving funding from another large nonprofit started by Steph and Ayesha Curry called \u003ca href=\"https://eatlearnplay.org/eat-learn-play\">Eat. Learn. Play.\u003c/a> So I’ve been focusing a good amount of my time and energy into documenting those stories of restaurant owners, the people involved in the restaurants, and getting food out to the people in need.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887340\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Image-from-iOS-1-1-800x600-1.jpg\" alt=\"Photographer Scott La Rockwell holding a camera and sitting on a stoop in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-1-1-800x600-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-1-1-800x600-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-1-1-800x600-1-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Scott La Rockwell holding a camera and sitting on a stoop in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen:\u003cspan style=\"font-weight: 400\"> How does that feel to be supporting business at a time when they need it most?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>Scott: \u003cspan style=\"font-weight: 400\">I think that’s the best kind of work that you can do, when you do work for other people. I don’t think as a business person you’re ever going to lose by supporting your community. I think the more that you give to your community and generate resources and opportunities for your community and become a solutions provider for your community, the better off you are, and the better off we all are… \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">And then working on next moves for The Townfolk Project… there’s some some good stuff going on in there as well. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: You haven’t been completely laying low, the Townfolk Project is on the side of a building on 13th and Broadway in the heart of downtown. How does that feel to have your photos live and direct in the heart of the town? \u003c/em>\u003c/p>\n\u003cp>Scott: It was a great, man– It was a great experience to see the photos that we’ve been taking and the work up in the actual community. I didn’t tell anybody that it was up… Because Oakland’s small. It’s a city, but it feels more like a village. Man, before I know it, people were just like, ‘oh, my photo is on 13th in downtown. My photo is on Broadway.’ So it was really cool to see that reaction from everybody in in a positive way. That felt really, really, really good to see the work out there and to see the people who have graced me with their time and energy and all that for the interviews to be representative of the community. Excited to see their photos.\u003c/p>\n\u003cfigure id=\"attachment_13887342\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-800x797.png\" alt=\"Poet and educator Jazz Hudson holds her young son, Selah.\" width=\"800\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-768x765.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM.png 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet and educator Jazz Hudson holds her young son, Selah. \u003ccite>(Scott La Rockwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">It was really pleasurable to see Mr. Cherry go down there and take photos in front of himself. He got decades of experience in Oakland. He’s a historian. And so for him to be recognized in public. For me, it brought about a sense of familiarity. Man, downtown is changing so much with businesses shuttering and the streets being repaved and changed. It just looks different, it feels different. So for me to go down there, and I see Leon “Dnas”, you know, as my partner since I was fifteen years old.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>Scott:\u003cspan style=\"font-weight: 400\"> … If you went to a certain area of Oakland it had more of a small town feel. And you’re gonna cross paths with certain individuals. So I hope that the photos are bringing some type of that type of feeling a connection. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13855986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/ScottLaRockwell-800x450.jpg\" alt=\"Scott La Rockwell and Pendarvis Harshaw (L–R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott La Rockwell and Pendarvis Harshaw (L–R). \u003ccite>(Ashleyanne Krigbaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"routes-Site-routes-Post-components-Post-components-PostMinisite-___PostMinisite__mpost_Date\">\n\u003cp>\u003cem>Part of this episode was first broadcast on Apr 26, 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://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003c/div>\n\u003cp>\u003c/p>\n",
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"excerpt": "The Townfolk Project aims to document longtime residents of Oakland—and what the city means to them. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>About two years ago photographer \u003ca href=\"http://www.rkwlcrtv.com/\">Scott La Rockwell\u003c/a> started taking photos of longtime Oakland residents and interviewing them about their roots in the Town.\u003c/p>\n\u003cp>He published the pieces online, calling it: \u003ca href=\"https://townfolkproject.org/\">The Townfolk Project. \u003c/a>Initially, he planned to take photos of 100 folks from a cross section of backgrounds and neighborhoods. But with COVID-19, things slowed down. He’s sitting on about 30 published interviews on his \u003ca href=\"https://www.instagram.com/townfolkproject/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram page\u003c/a>.\u003c/p>\n\u003cp>But this past summer, when store owners boarded up their buildings to discourage any vandalism that might come after peaceful protests, Scott’s project got an unexpected canvas: the windows of a building on 13th and Broadway.\u003c/p>\n\u003cp>Now, about a dozen of Scott’s photos of artists, activists and folks who’ve been putting on for the greater good of Oakland are mounted on one of the most prominent corners of the city.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3535806204\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>This week, we talk to Scott La Rockwell about the importance of showing the community to itself, especially at a time when people are so divided.\u003c/p>\n\u003cfigure id=\"attachment_13887341\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887341\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Image-from-iOS-12-800x1067.jpg\" alt=\"Scott La Rockwell's photos mounted on 13th and Broadway in Oakland.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-12.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott La Rockwell’s photos mounted on 13th and Broadway in Oakland. \u003ccite>(Scott La Rockwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of conversations I’ve had with Scott La Rockwell. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">What is your mission as an artist, as a photographer?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>Scott:\u003cspan style=\"font-weight: 400\"> Stories, I really enjoy getting photos of people that tell stories. And then I love finding myself in places, taking photographs where people are like, how the hell did you get that? Whether it’s a \u003ca href=\"https://www.instagram.com/p/B2rvxPThEsa/?utm_source=ig_web_copy_link\">photo of the Bay Bridge through the Bay Bridge\u003c/a> or a Hells Angels funeral. I just love finding stories in little niches in people’s lives to share with people.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">What have you been doing over the past six months of shelter in place? \u003c/span>\u003c/em>\u003c/p>\n\u003cp>Scott: \u003cspan style=\"font-weight: 400\">A lot of downtime for sure. The market has slowed up a lot, especially because of all the social distancing. But I have been fortunate enough to do a good amount of work for two clients, \u003ca href=\"https://wck.org/\">World Central Kitchen\u003c/a>, which is a nonprofit run by chef José Andrés, helping to keep restaurants in Oakland open. It’s receiving funding from another large nonprofit started by Steph and Ayesha Curry called \u003ca href=\"https://eatlearnplay.org/eat-learn-play\">Eat. Learn. Play.\u003c/a> So I’ve been focusing a good amount of my time and energy into documenting those stories of restaurant owners, the people involved in the restaurants, and getting food out to the people in need.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13887340\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13887340\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Image-from-iOS-1-1-800x600-1.jpg\" alt=\"Photographer Scott La Rockwell holding a camera and sitting on a stoop in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-1-1-800x600-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-1-1-800x600-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Image-from-iOS-1-1-800x600-1-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photographer Scott La Rockwell holding a camera and sitting on a stoop in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen:\u003cspan style=\"font-weight: 400\"> How does that feel to be supporting business at a time when they need it most?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>Scott: \u003cspan style=\"font-weight: 400\">I think that’s the best kind of work that you can do, when you do work for other people. I don’t think as a business person you’re ever going to lose by supporting your community. I think the more that you give to your community and generate resources and opportunities for your community and become a solutions provider for your community, the better off you are, and the better off we all are… \u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003cspan style=\"font-weight: 400\">And then working on next moves for The Townfolk Project… there’s some some good stuff going on in there as well. \u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: You haven’t been completely laying low, the Townfolk Project is on the side of a building on 13th and Broadway in the heart of downtown. How does that feel to have your photos live and direct in the heart of the town? \u003c/em>\u003c/p>\n\u003cp>Scott: It was a great, man– It was a great experience to see the photos that we’ve been taking and the work up in the actual community. I didn’t tell anybody that it was up… Because Oakland’s small. It’s a city, but it feels more like a village. Man, before I know it, people were just like, ‘oh, my photo is on 13th in downtown. My photo is on Broadway.’ So it was really cool to see that reaction from everybody in in a positive way. That felt really, really, really good to see the work out there and to see the people who have graced me with their time and energy and all that for the interviews to be representative of the community. Excited to see their photos.\u003c/p>\n\u003cfigure id=\"attachment_13887342\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13887342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-800x797.png\" alt=\"Poet and educator Jazz Hudson holds her young son, Selah.\" width=\"800\" height=\"797\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-800x797.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-1020x1017.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-160x159.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM-768x765.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/10/Screen-Shot-2020-10-01-at-6.42.33-PM.png 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet and educator Jazz Hudson holds her young son, Selah. \u003ccite>(Scott La Rockwell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">It was really pleasurable to see Mr. Cherry go down there and take photos in front of himself. He got decades of experience in Oakland. He’s a historian. And so for him to be recognized in public. For me, it brought about a sense of familiarity. Man, downtown is changing so much with businesses shuttering and the streets being repaved and changed. It just looks different, it feels different. So for me to go down there, and I see Leon “Dnas”, you know, as my partner since I was fifteen years old.\u003c/span>\u003c/em>\u003c/p>\n\u003cp>Scott:\u003cspan style=\"font-weight: 400\"> … If you went to a certain area of Oakland it had more of a small town feel. And you’re gonna cross paths with certain individuals. So I hope that the photos are bringing some type of that type of feeling a connection. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13855986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/04/ScottLaRockwell-800x450.jpg\" alt=\"Scott La Rockwell and Pendarvis Harshaw (L–R).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ScottLaRockwell.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Scott La Rockwell and Pendarvis Harshaw (L–R). \u003ccite>(Ashleyanne Krigbaum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"routes-Site-routes-Post-components-Post-components-PostMinisite-___PostMinisite__mpost_Date\">\n\u003cp>\u003cem>Part of this episode was first broadcast on Apr 26, 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://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "the-abolitionist-fighting-sex-trafficking-with-words-and-altars",
"title": "The Abolitionist Fighting Sex Trafficking with Words and Altars",
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"headTitle": "The Abolitionist Fighting Sex Trafficking with Words and Altars | KQED",
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"content": "\u003cfigure id=\"attachment_13886841\" class=\"wp-caption alignnone\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/image0-1.jpg\" alt=\"Regina Evans posing for a photo on International Blvd. in Oakland.\" width=\"740\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-1.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-1-160x208.jpg 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">Regina Evans posing for a photo on International Blvd. in Oakland. \u003ccite>(Matthew Evearitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/echojustice\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Y. Evans\u003c/a> works with a team of folks to assemble altars on Oakland’s International Boulevard, a hub for adult sex workers as well as the sex trafficking of minors.\u003c/p>\n\u003cp>Regina says the goal of the work is to be present for the girls—or “Beloveds,” as she calls them.\u003c/p>\n\u003cp>The altars are decorated with art, flowers, letters and fabrics, and since the start of the pandemic, she’s been adding hand sanitizer, condoms and PPE. Regina says her team builds these altars as an offering, and that she doesn’t directly approach the Beloveds. Instead, she allows the altars to be an opening for interactions.\u003c/p>\n\u003cp>For Regina, spirituality, social commentary and artistry all weave together in her mission to abolish the sex trafficking of minors.\u003c/p>\n\u003cp>You can see this in all her work: She’s the founder of the vintage boutique, Regina’s Door, which also serves as a safe haven for at-risk youth and survivors of human trafficking. And in addition to designing costumes for stage shows, she writes and performs her own plays, which are informed by her work in the streets of Oakland.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13886860\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/image0.jpg\" alt=\"Building altars for the Beloved.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Building altars for the Beloved. \u003ccite>(Teresa Sutowski-Massimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7908706129\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Regina Evans.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: After \u003ca href=\"https://www.mercurynews.com/2019/08/09/review-you-will-squirm-through-52-letters-in-oakland-and-thats-good/\">52 Letters\u003c/a>, one of your more recent plays… you mentioned that one of the attendees of the play said it was “A bit much.” What was your response to them?\u003c/em>\u003c/p>\n\u003cp>REGINA: It was a gentleman. When I got off stage and I went out to greet the audience, he said, “It’s almost too much.”\u003c/p>\n\u003cp>And my response to it was, well, you just got an hour of an idea of a young kid who’s being traffic 24/7. You just got a glimpse of it. So give thanks. Give thanks for her pain. Give thanks for her tears. That you get to be a witness just by sitting on the other side of a fourth wall.\u003c/p>\n\u003cp>It’s an interesting thing when you talk about trafficking because people often don’t get it. It’s almost like talking about past day slavery. People are like, yeah it was terrible, it was was really bad, but do we really think about it? Do you think about the day-to-day? Do you think about how your fingers felt picking the cotton? What about the cracks in the feet? We say that it’s bad, it’s inhumane, but we’re not thinking about the day today, the minute of what a child is having to endure. That’s what makes words and plays so powerful because you can bring that to the person. And so they can then feel it.\u003c/p>\n\u003cp>\u003cem>PEN: It’s all in the details, and that’s what you see eye to eye with the human experience, and I totally recognize that as a storyteller. There’s so much power in details. How do you go about observing and bringing in these details? Where do you pull that from?\u003c/em>\u003c/p>\n\u003cp>REGINA: You know, I use a lot of my own story, the feel of my own story, the feel of what it felt like when I was healing. I asked as a couple of other people if I could use bits of their story. And then spirit. So I mix it all together. It’s not something that I’m writing or talking about that I don’t know what that intensity or what the pain of it actually feels like.\u003c/p>\n\u003cp>Any survivors of an injustice holds a particular and intimate knowledge of that injustice. Just because we’ve been so close to it. We know how it moves. We know how it smells. We know the wink of the eye or how the eyes move. We know all of those little things. That’s why survivors are important for any social justice movement because we know the intimacies of it.\u003c/p>\n\u003cfigure id=\"attachment_13886862\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_9551-800x534.jpg\" alt='\"You Are LIGHT\" and \"I AM divinely CREATED\" written in chalk on the sidewalk. ' width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You Are LIGHT” and “I AM divinely CREATED” written in chalk on the sidewalk. \u003ccite>(Graig Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>PEN: Social justice as well as journalism: You want to get to the primary source. You want to get to the people who have experienced it. What does your abolition work look like right now in 2020?\u003c/em>\u003c/p>\n\u003cp>REGINA: My work is historical and now, at the same time, because this is not a revisit, this is a continuation. The black female womb has been commodified since we hit these shores. Where has it stopped? There’s a quote from Frederick Douglass and he says something like, ‘Slavery has called itself many names and it will again call itself by many names.’\u003c/p>\n\u003cp>And you and I and all of us had better wake up and listen, so that we can see how this snake is going to rear its head again. And so here we are calling it a different name.\u003c/p>\n\u003cp>\u003cem>PEN: I went to the taco spot, shout out to Taco Sinaloa on 22nd and East 14th. They were just about to close the taco spot, it’s like late night. And I was just amazed at the amount of people out there working. What’s going on on East 14th right now?\u003c/em>\u003c/p>\n\u003cp>REGINA: Woo! East 14th right now is lit. When the pandemic hit, like I thought I wouldn’t see as many beloveds out, and that was not the case. It’s just wild, not only the amount of young beloved, but the feel, the atmosphere. [sigh] And… you know, I never carry condoms with me… But the amount of young beloved who are like, do you have condoms? And I was, oh shoot. Yeah, I need to have condoms for them. \u003ca href=\"https://www.shademovement.org/founder\">Saraí Mazariegos from SHADE\u003c/a>, she started bringing condoms and stuff and now we put condoms on the altars.\u003c/p>\n\u003cp>\u003cem>PEN: Paint the picture for me. What do these altars look like?\u003c/em>\u003c/p>\n\u003cp>REGINA: You know, I put candy and stuff in there and make them really pretty. I always use a lot of fabric. I write them letters, and put them in there, and then I put up these signs that say, ‘You are beloved, you are beautiful. signed the queendom.’ I do that all up and down the track. I’ve been building altars on the track for a very, very long time. It was a thing that I could do without, you know, approaching the beloved. And as I was building them I’d be like, ‘I love you. I see you. You’re not forgotten. You’re not alone.’\u003c/p>\n\u003cfigure id=\"attachment_13886861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_9539-800x534.jpg\" alt=\"A pandemic altar for the Beloved with water bottles, flowers, condoms, and PPE.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pandemic altar for Regina’s Beloved with water bottles, flowers, condoms, and PPE. \u003ccite>(Graig Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then when the pandemic hit, I had a dream. and in the dream I saw the track. It was like a garden. And I woke up and I was like, oh, shoot, we’re gonna build a garden on the track. And I called in all my friends and people came in strong.\u003c/p>\n\u003cp>So what they look like are lots of plants. Leafy plants and we also use succulents. And we also embed the altars with PPE, masks, hand sanitizers. People leave food and water. The main purpose is just to leave beauty and love.\u003c/p>\n\u003cp>\u003cem>PEN: You speak of, you know, visions come into dreams. You talk about this is the work you’ve been called to do. You’re answering the call. What is the end goal?\u003c/em>\u003c/p>\n\u003cp>REGINA: So the end goal is no trafficking. [sigh] I asked this question at the end of my play. When I do 52 Letters, I say, what would you do if you knew a child was being trafficked? And I let people think about it. And then I say, What would you do if your child was being trafficked? We don’t see that these children are our children, so trying to make the connection that these are all of our children.\u003c/p>\n\u003cp>You know, I don’t understand how we don’t view them through the lens of our own heart. Or the eyes of our own souls. They deserve to be cradled. And they deserve to be held by us with all that we are.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "The Abolitionist Fighting Sex Trafficking with Words and Altars | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13886841\" class=\"wp-caption alignnone\" style=\"max-width: 740px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/image0-1.jpg\" alt=\"Regina Evans posing for a photo on International Blvd. in Oakland.\" width=\"740\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-1.jpg 740w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-1-160x208.jpg 160w\" sizes=\"(max-width: 740px) 100vw, 740px\">\u003cfigcaption class=\"wp-caption-text\">Regina Evans posing for a photo on International Blvd. in Oakland. \u003ccite>(Matthew Evearitt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/echojustice\" target=\"_blank\" rel=\"noopener noreferrer\">Regina Y. Evans\u003c/a> works with a team of folks to assemble altars on Oakland’s International Boulevard, a hub for adult sex workers as well as the sex trafficking of minors.\u003c/p>\n\u003cp>Regina says the goal of the work is to be present for the girls—or “Beloveds,” as she calls them.\u003c/p>\n\u003cp>The altars are decorated with art, flowers, letters and fabrics, and since the start of the pandemic, she’s been adding hand sanitizer, condoms and PPE. Regina says her team builds these altars as an offering, and that she doesn’t directly approach the Beloveds. Instead, she allows the altars to be an opening for interactions.\u003c/p>\n\u003cp>For Regina, spirituality, social commentary and artistry all weave together in her mission to abolish the sex trafficking of minors.\u003c/p>\n\u003cp>You can see this in all her work: She’s the founder of the vintage boutique, Regina’s Door, which also serves as a safe haven for at-risk youth and survivors of human trafficking. And in addition to designing costumes for stage shows, she writes and performs her own plays, which are informed by her work in the streets of Oakland.\u003c/p>\n\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13886860\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886860\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/image0.jpg\" alt=\"Building altars for the Beloved.\" width=\"720\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/image0-160x213.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Building altars for the Beloved. \u003ccite>(Teresa Sutowski-Massimo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC7908706129\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Regina Evans.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>PEN: After \u003ca href=\"https://www.mercurynews.com/2019/08/09/review-you-will-squirm-through-52-letters-in-oakland-and-thats-good/\">52 Letters\u003c/a>, one of your more recent plays… you mentioned that one of the attendees of the play said it was “A bit much.” What was your response to them?\u003c/em>\u003c/p>\n\u003cp>REGINA: It was a gentleman. When I got off stage and I went out to greet the audience, he said, “It’s almost too much.”\u003c/p>\n\u003cp>And my response to it was, well, you just got an hour of an idea of a young kid who’s being traffic 24/7. You just got a glimpse of it. So give thanks. Give thanks for her pain. Give thanks for her tears. That you get to be a witness just by sitting on the other side of a fourth wall.\u003c/p>\n\u003cp>It’s an interesting thing when you talk about trafficking because people often don’t get it. It’s almost like talking about past day slavery. People are like, yeah it was terrible, it was was really bad, but do we really think about it? Do you think about the day-to-day? Do you think about how your fingers felt picking the cotton? What about the cracks in the feet? We say that it’s bad, it’s inhumane, but we’re not thinking about the day today, the minute of what a child is having to endure. That’s what makes words and plays so powerful because you can bring that to the person. And so they can then feel it.\u003c/p>\n\u003cp>\u003cem>PEN: It’s all in the details, and that’s what you see eye to eye with the human experience, and I totally recognize that as a storyteller. There’s so much power in details. How do you go about observing and bringing in these details? Where do you pull that from?\u003c/em>\u003c/p>\n\u003cp>REGINA: You know, I use a lot of my own story, the feel of my own story, the feel of what it felt like when I was healing. I asked as a couple of other people if I could use bits of their story. And then spirit. So I mix it all together. It’s not something that I’m writing or talking about that I don’t know what that intensity or what the pain of it actually feels like.\u003c/p>\n\u003cp>Any survivors of an injustice holds a particular and intimate knowledge of that injustice. Just because we’ve been so close to it. We know how it moves. We know how it smells. We know the wink of the eye or how the eyes move. We know all of those little things. That’s why survivors are important for any social justice movement because we know the intimacies of it.\u003c/p>\n\u003cfigure id=\"attachment_13886862\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886862\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_9551-800x534.jpg\" alt='\"You Are LIGHT\" and \"I AM divinely CREATED\" written in chalk on the sidewalk. ' width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9551.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“You Are LIGHT” and “I AM divinely CREATED” written in chalk on the sidewalk. \u003ccite>(Graig Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>PEN: Social justice as well as journalism: You want to get to the primary source. You want to get to the people who have experienced it. What does your abolition work look like right now in 2020?\u003c/em>\u003c/p>\n\u003cp>REGINA: My work is historical and now, at the same time, because this is not a revisit, this is a continuation. The black female womb has been commodified since we hit these shores. Where has it stopped? There’s a quote from Frederick Douglass and he says something like, ‘Slavery has called itself many names and it will again call itself by many names.’\u003c/p>\n\u003cp>And you and I and all of us had better wake up and listen, so that we can see how this snake is going to rear its head again. And so here we are calling it a different name.\u003c/p>\n\u003cp>\u003cem>PEN: I went to the taco spot, shout out to Taco Sinaloa on 22nd and East 14th. They were just about to close the taco spot, it’s like late night. And I was just amazed at the amount of people out there working. What’s going on on East 14th right now?\u003c/em>\u003c/p>\n\u003cp>REGINA: Woo! East 14th right now is lit. When the pandemic hit, like I thought I wouldn’t see as many beloveds out, and that was not the case. It’s just wild, not only the amount of young beloved, but the feel, the atmosphere. [sigh] And… you know, I never carry condoms with me… But the amount of young beloved who are like, do you have condoms? And I was, oh shoot. Yeah, I need to have condoms for them. \u003ca href=\"https://www.shademovement.org/founder\">Saraí Mazariegos from SHADE\u003c/a>, she started bringing condoms and stuff and now we put condoms on the altars.\u003c/p>\n\u003cp>\u003cem>PEN: Paint the picture for me. What do these altars look like?\u003c/em>\u003c/p>\n\u003cp>REGINA: You know, I put candy and stuff in there and make them really pretty. I always use a lot of fabric. I write them letters, and put them in there, and then I put up these signs that say, ‘You are beloved, you are beautiful. signed the queendom.’ I do that all up and down the track. I’ve been building altars on the track for a very, very long time. It was a thing that I could do without, you know, approaching the beloved. And as I was building them I’d be like, ‘I love you. I see you. You’re not forgotten. You’re not alone.’\u003c/p>\n\u003cfigure id=\"attachment_13886861\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886861\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_9539-800x534.jpg\" alt=\"A pandemic altar for the Beloved with water bottles, flowers, condoms, and PPE.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_9539.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A pandemic altar for Regina’s Beloved with water bottles, flowers, condoms, and PPE. \u003ccite>(Graig Brooks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then when the pandemic hit, I had a dream. and in the dream I saw the track. It was like a garden. And I woke up and I was like, oh, shoot, we’re gonna build a garden on the track. And I called in all my friends and people came in strong.\u003c/p>\n\u003cp>So what they look like are lots of plants. Leafy plants and we also use succulents. And we also embed the altars with PPE, masks, hand sanitizers. People leave food and water. The main purpose is just to leave beauty and love.\u003c/p>\n\u003cp>\u003cem>PEN: You speak of, you know, visions come into dreams. You talk about this is the work you’ve been called to do. You’re answering the call. What is the end goal?\u003c/em>\u003c/p>\n\u003cp>REGINA: So the end goal is no trafficking. [sigh] I asked this question at the end of my play. When I do 52 Letters, I say, what would you do if you knew a child was being trafficked? And I let people think about it. And then I say, What would you do if your child was being trafficked? We don’t see that these children are our children, so trying to make the connection that these are all of our children.\u003c/p>\n\u003cp>You know, I don’t understand how we don’t view them through the lens of our own heart. Or the eyes of our own souls. They deserve to be cradled. And they deserve to be held by us with all that we are.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\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 it took was a worldwide pandemic, nationwide protests of racial injustice and one huge purchase order to change a Black-owned East Bay clothing business—possibly forever.\u003c/p>\n\u003cp>Y’all remember the summer of 2020, right? That’s when it started. Before the natural disaster that is this election season and prior to the manmade disaster that is California’s annual wildfire season.\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>Back when people got fed up with police brutality, groups of artists \u003ca href=\"https://www.kqed.org/news/11824301/black-lives-matter-painted-tall-on-san-francisco-streets\" target=\"_blank\" rel=\"noopener noreferrer\">painted “Black Lives Matter”\u003c/a> on the streets of major American cities and high-ranking officials from the Democratic party \u003ca href=\"https://www.kqed.org/arts/13881731/a-front-row-seat-at-the-woke-theatre\" target=\"_blank\" rel=\"noopener noreferrer\">posed for photos in Kente Cloth\u003c/a>. You recall: that bygone period in time when companies and celebrities issued \u003ca href=\"https://twitter.com/calebsaysthings/status/1269443711621947394\" target=\"_blank\" rel=\"noopener noreferrer\">vague “statements of solidarity”\u003c/a> with the Black Lives Matter movement once they realized posturing themselves on the right side of history would do well for their bottom line.\u003c/p>\n\u003cp>In the midst of all of that, a certain multinational Fortune 500 company made a politically incorrect blunder. It was so public, and the backlash so strong, that the company figured the best way to save face was to not only order a huge shipment of Black Lives Matter-inspired shirts for their employees, but also hire a Black-owned printing company to make them.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.bigprintingonline.com/bptc/shop/home\" target=\"_blank\" rel=\"noopener noreferrer\">Big Printing T-shirt Company\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13886659\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg\" alt=\"Dawaud Muhammad in the Big Printing factory in San Leandro.\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1020x538.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1536x810.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-2048x1080.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1920x1013.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawaud Muhammad in the Big Printing factory in San Leandro. \u003ccite>(Lauren J. Richardson of LacedMedia)\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\">W\u003c/span>ith headquarters in San Leandro, Big Printing is the backbone to some of the most \u003ca href=\"https://www.instagram.com/bigprinting/\" target=\"_blank\" rel=\"noopener noreferrer\">prominent street brands\u003c/a> in the clothing game, all around the nation. Locally, they print \u003ca href=\"https://www.instagram.com/philthyrichfod/\" target=\"_blank\" rel=\"noopener noreferrer\">Philthy Rich’s FOD line\u003c/a>, \u003ca href=\"https://www.instagram.com/realbeedaweeda/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda’s Mackin’ & Mobbin’\u003c/a> and \u003ca href=\"https://www.instagram.com/fabbydavisjr1/\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah Fab’s DOPE ERA\u003c/a>, as well as the rapper \u003ca href=\"https://www.instagram.com/cookie_money/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookie Money\u003c/a>. Threads have been assembled in their factory and landed on the backs of Snoop Dogg, Andre Ward and Marshawn Lynch.\u003c/p>\n\u003cp>But success isn’t an overnight shipment. The company has been at it for over two decades. And their origin story is about as authentically 1990s East Oakland as one can get.\u003c/p>\n\u003cp>In 1994, a 19-year-old ambitious teenager named Dawaud Muhammad was “looking for a hustle that wasn’t involved in the street life” when \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat\u003c/a>‘s footage of the \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Festival at The Lake\u003c/a> caught his eye—specifically a guy selling T-shirts.\u003c/p>\n\u003cp>Long story short: he met the guy, got some shirts wholesale and started a small business. Dawaud chose an animated brown-skinned man with a stern face and small afro as his logo. I’d go on to see the image all throughout my childhood.\u003c/p>\n\u003cfigure id=\"attachment_13886730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png\" alt=\"V White and Mac Dre in Big Pimpin' turf clothes.\" width=\"800\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-1020x1008.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-768x759.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">V White and Mac Dre in Big Pimpin’ Turf Clothes. \u003ccite>(Big Printing Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, the company was called Big Pimpin’ Turf Clothes. There’s photos of \u003ca href=\"https://www.instagram.com/p/Bk4SSxVjKr0/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">V White (formerly known as V-Dal) of the Delinquents and the late Mac Dre\u003c/a>, as well as images of \u003ca href=\"https://www.instagram.com/p/CDRd4FXnMZA/\" target=\"_blank\" rel=\"noopener noreferrer\">Master P\u003c/a>, all sporting early renditions of the gear.\u003c/p>\n\u003cp>I recall versions of the shirts that were made for specifically for Oakland neighborhoods, like the Shady 80s or the Murda Dubbs (Murder Doves). (And it was deeper than just clothing: A childhood friend of mine, Marcell (RIP), once put hands on someone for wearing the shirt of a ‘hood he wasn’t really from. Made the kid take the shirt off in the middle of Dimond Park.)\u003c/p>\n\u003cp>Along the way, Big Pimpin’ blossomed. Dawaud started out selling the shirts out of his trunk. He moved on to cultural hubs like T’s Wauzi, a record store in the Eastmont Mall. And then he landed in places like the Solano Mall, Sacramento’s Arden Fair Mall and San Leandro’s Bayfair Mall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That last location proved to be immensely important. Not just because of how popular that mall used to be back in the day, but because it was the place where Dawaud would meet Kesney, who’s now the chief financial officer of Big Printing—as well as Dawaud’s partner in marriage.\u003c/p>\n\u003cp>Kesney came from a different background than Dawaud, who grew up on 86th Avenue and Birch Street in East Oakland. She’s from the East Bay suburb of Benicia. A Howard University grad who was working in Silicon Valley, her financial management expertis. e would prove to be key.\u003c/p>\n\u003cp>With her savviness, Big Pimpin’ Turf Clothes rebranded itself as Big Printing. It also grew from a single press in Dawaud’s grandmother’s house to multiple presses.\u003c/p>\n\u003cp>Dawaud and Kesney were married at the turn of the millennium, got a loft across the street from McClymonds High School in West Oakland in 2002, and in 2004 acquired an automatic press. So in 2005, they relocated to 900 Doolittle Drive in San Leandro.\u003c/p>\n\u003cfigure id=\"attachment_13886729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1468-800x600.jpg\" alt=\"New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the acquisition of two embroidery machines, that move allowed the business to go from a 1,500-square-foot spot to a 2,500-square-foot location in the same area. Two years later they doubled in size to 5,000 square feet, still in San Leandro.\u003c/p>\n\u003cp>As the company grew, they honed the focus of their clientele: motorcycle clubs, churches and startup streetwear brands.\u003c/p>\n\u003cp>Social media, specifically Instagram and its paid ads, allowed the company to find customers from all around the country. “We found a lot more of ‘\u003cem>us\u003c/em>,'” says Dawaud, in reference to his community of African American entrepreneurs.\u003c/p>\n\u003cp>“We were happy and grateful to be a three-press shop with some embroidery,” says Kesney. “But as we began to work toward our niche market of developing brands, we began to see this need for our community.” Kesney says the business was a magnet for young African American folks who “had great vision, cool ideas and just needed a little bit of help to bring it to life.”\u003c/p>\n\u003cfigure id=\"attachment_13886731\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg\" alt=\"Kesney Muhammad checking her phone in the Big Printing reception area \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kesney Muhammad checks her phone in the Big Printing reception area. \u003ccite>( Lauren J. Richardson of LacedMedia)\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\">C\u003c/span>ontractually, Big Printing can’t reveal the name of the giant Fortune 500 company that placed the huge Black Lives Matter order. But years of doing business has led Kesney to understanding the importance of this purchase order, and how it is a step toward finding a remedy to the economic divide that exists in America.\u003c/p>\n\u003cp>Talking with her about it brought up issues I was familiar with, like the disparity in wealth between Black and white households, as well as the U.S. unemployment rate, which is always worse for African Americans than just about any other demographic. But until I talked to Kesney, I didn’t know that so few Black-owned businesses actually have employees.\u003c/p>\n\u003cp>Citing the U.S. Census 2012 Survey of Business Owners, \u003ca href=\"https://blackdemographics.com/economics/black-owned-businesses/\" target=\"_blank\" rel=\"noopener noreferrer\">BlackDemographics.com\u003c/a> reports that approximately 95% of African American businesses don’t have a staff, aside from the owner or partnership.\u003c/p>\n\u003cp>Couple that with the \u003ca href=\"https://www.nber.org/papers/w27309.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">National Bureau of Economic Research’s\u003c/a> analysis that during the early stages of COVID-19, “African-American businesses were hit especially hard, experiencing a 41 percent drop,” and you start to see how important it is for small, Black-owned businesses to be integrated into larger businesses’ supply chain.\u003c/p>\n\u003cp>Big Printing took some early licks this year when business slowed down in China, but otherwise they weren’t phased by COVID-19. If anything, the pandemic brought business to their door. “The business started to skyrocket,” says Dawaud, noting that they got a few people thanking them for simply being open.\u003c/p>\n\u003cp>But nothing was like the big order they received at the start of the summer.\u003c/p>\n\u003cp>“I don’t know anybody who’s done 100,000 shirts,” says Dawaud, proudly reflecting on the order his company fulfilled.\u003c/p>\n\u003cp>“We have a business,” says Kesney, in a grounding tone. “We work for the money that we earn. We do a damn good job for every client we go out and print. Just the chance to bid on this type of order is great for us, and well-deserved.”\u003c/p>\n\u003cfigure id=\"attachment_13886732\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1465-800x600.jpg\" alt=\"Hats being embroidered at the Big Printing HQ\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hats being embroidered at the Big Printing HQ. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After 25 years of steady growth, the giant order allowed Big Printing to increase their staff by nearly 20%, acquire new machinery and double their physical footprint, in just three weeks.\u003c/p>\n\u003cp>The beneficiaries of this investment will be the owners and employees, as well as the numerous members of the community the business serves, which is heavily African American.\u003c/p>\n\u003cp>Kesney and Dawaud understand that ripple effect. They also understand the waves of woes that Africans Americans face when it comes to inequalities, particularly economic inequality, in the United States.\u003c/p>\n\u003cp>To that, Dawaud says, “You can make a statement, or you can make a donation. But you really don’t have to go that far to make a difference. All you really have to do is go to your procurement department and ask them, ‘Are we doing any business with Black vendors?’ If not, then make a conscious effort to see about changing that.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Big Printing, in the East Bay for over 25 years, is using a large corporate purchase order to invest in the Black community.",
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"headline": "How One Black-Owned Printing Company Doubled its Footprint Overnight",
"datePublished": "2020-09-23T17:10:15-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>ll it took was a worldwide pandemic, nationwide protests of racial injustice and one huge purchase order to change a Black-owned East Bay clothing business—possibly forever.\u003c/p>\n\u003cp>Y’all remember the summer of 2020, right? That’s when it started. Before the natural disaster that is this election season and prior to the manmade disaster that is California’s annual wildfire season.\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>Back when people got fed up with police brutality, groups of artists \u003ca href=\"https://www.kqed.org/news/11824301/black-lives-matter-painted-tall-on-san-francisco-streets\" target=\"_blank\" rel=\"noopener noreferrer\">painted “Black Lives Matter”\u003c/a> on the streets of major American cities and high-ranking officials from the Democratic party \u003ca href=\"https://www.kqed.org/arts/13881731/a-front-row-seat-at-the-woke-theatre\" target=\"_blank\" rel=\"noopener noreferrer\">posed for photos in Kente Cloth\u003c/a>. You recall: that bygone period in time when companies and celebrities issued \u003ca href=\"https://twitter.com/calebsaysthings/status/1269443711621947394\" target=\"_blank\" rel=\"noopener noreferrer\">vague “statements of solidarity”\u003c/a> with the Black Lives Matter movement once they realized posturing themselves on the right side of history would do well for their bottom line.\u003c/p>\n\u003cp>In the midst of all of that, a certain multinational Fortune 500 company made a politically incorrect blunder. It was so public, and the backlash so strong, that the company figured the best way to save face was to not only order a huge shipment of Black Lives Matter-inspired shirts for their employees, but also hire a Black-owned printing company to make them.\u003c/p>\n\u003cp>Enter \u003ca href=\"http://www.bigprintingonline.com/bptc/shop/home\" target=\"_blank\" rel=\"noopener noreferrer\">Big Printing T-shirt Company\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13886659\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg\" alt=\"Dawaud Muhammad in the Big Printing factory in San Leandro.\" width=\"800\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-800x422.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1020x538.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-160x84.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-768x405.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1536x810.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-2048x1080.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_5-1920x1013.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dawaud Muhammad in the Big Printing factory in San Leandro. \u003ccite>(Lauren J. Richardson of LacedMedia)\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\">W\u003c/span>ith headquarters in San Leandro, Big Printing is the backbone to some of the most \u003ca href=\"https://www.instagram.com/bigprinting/\" target=\"_blank\" rel=\"noopener noreferrer\">prominent street brands\u003c/a> in the clothing game, all around the nation. Locally, they print \u003ca href=\"https://www.instagram.com/philthyrichfod/\" target=\"_blank\" rel=\"noopener noreferrer\">Philthy Rich’s FOD line\u003c/a>, \u003ca href=\"https://www.instagram.com/realbeedaweeda/\" target=\"_blank\" rel=\"noopener noreferrer\">Beeda Weeda’s Mackin’ & Mobbin’\u003c/a> and \u003ca href=\"https://www.instagram.com/fabbydavisjr1/\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah Fab’s DOPE ERA\u003c/a>, as well as the rapper \u003ca href=\"https://www.instagram.com/cookie_money/\" target=\"_blank\" rel=\"noopener noreferrer\">Cookie Money\u003c/a>. Threads have been assembled in their factory and landed on the backs of Snoop Dogg, Andre Ward and Marshawn Lynch.\u003c/p>\n\u003cp>But success isn’t an overnight shipment. The company has been at it for over two decades. And their origin story is about as authentically 1990s East Oakland as one can get.\u003c/p>\n\u003cp>In 1994, a 19-year-old ambitious teenager named Dawaud Muhammad was “looking for a hustle that wasn’t involved in the street life” when \u003ca href=\"https://www.kqed.org/arts/13877570/a-tribute-to-soul-beat-tv-the-black-owned-network-of-east-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Soul Beat\u003c/a>‘s footage of the \u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Festival at The Lake\u003c/a> caught his eye—specifically a guy selling T-shirts.\u003c/p>\n\u003cp>Long story short: he met the guy, got some shirts wholesale and started a small business. Dawaud chose an animated brown-skinned man with a stern face and small afro as his logo. I’d go on to see the image all throughout my childhood.\u003c/p>\n\u003cfigure id=\"attachment_13886730\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886730\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png\" alt=\"V White and Mac Dre in Big Pimpin' turf clothes.\" width=\"800\" height=\"791\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-800x791.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-1020x1008.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-160x158.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM-768x759.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/Screen-Shot-2020-09-23-at-10.02.09-AM.png 1198w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">V White and Mac Dre in Big Pimpin’ Turf Clothes. \u003ccite>(Big Printing Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, the company was called Big Pimpin’ Turf Clothes. There’s photos of \u003ca href=\"https://www.instagram.com/p/Bk4SSxVjKr0/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">V White (formerly known as V-Dal) of the Delinquents and the late Mac Dre\u003c/a>, as well as images of \u003ca href=\"https://www.instagram.com/p/CDRd4FXnMZA/\" target=\"_blank\" rel=\"noopener noreferrer\">Master P\u003c/a>, all sporting early renditions of the gear.\u003c/p>\n\u003cp>I recall versions of the shirts that were made for specifically for Oakland neighborhoods, like the Shady 80s or the Murda Dubbs (Murder Doves). (And it was deeper than just clothing: A childhood friend of mine, Marcell (RIP), once put hands on someone for wearing the shirt of a ‘hood he wasn’t really from. Made the kid take the shirt off in the middle of Dimond Park.)\u003c/p>\n\u003cp>Along the way, Big Pimpin’ blossomed. Dawaud started out selling the shirts out of his trunk. He moved on to cultural hubs like T’s Wauzi, a record store in the Eastmont Mall. And then he landed in places like the Solano Mall, Sacramento’s Arden Fair Mall and San Leandro’s Bayfair Mall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That last location proved to be immensely important. Not just because of how popular that mall used to be back in the day, but because it was the place where Dawaud would meet Kesney, who’s now the chief financial officer of Big Printing—as well as Dawaud’s partner in marriage.\u003c/p>\n\u003cp>Kesney came from a different background than Dawaud, who grew up on 86th Avenue and Birch Street in East Oakland. She’s from the East Bay suburb of Benicia. A Howard University grad who was working in Silicon Valley, her financial management expertis. e would prove to be key.\u003c/p>\n\u003cp>With her savviness, Big Pimpin’ Turf Clothes rebranded itself as Big Printing. It also grew from a single press in Dawaud’s grandmother’s house to multiple presses.\u003c/p>\n\u003cp>Dawaud and Kesney were married at the turn of the millennium, got a loft across the street from McClymonds High School in West Oakland in 2002, and in 2004 acquired an automatic press. So in 2005, they relocated to 900 Doolittle Drive in San Leandro.\u003c/p>\n\u003cfigure id=\"attachment_13886729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886729\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1468-800x600.jpg\" alt=\"New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1468-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New threads fresh off the Big Printing press for the Detroit-based clothing company BossTooDeath. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with the acquisition of two embroidery machines, that move allowed the business to go from a 1,500-square-foot spot to a 2,500-square-foot location in the same area. Two years later they doubled in size to 5,000 square feet, still in San Leandro.\u003c/p>\n\u003cp>As the company grew, they honed the focus of their clientele: motorcycle clubs, churches and startup streetwear brands.\u003c/p>\n\u003cp>Social media, specifically Instagram and its paid ads, allowed the company to find customers from all around the country. “We found a lot more of ‘\u003cem>us\u003c/em>,'” says Dawaud, in reference to his community of African American entrepreneurs.\u003c/p>\n\u003cp>“We were happy and grateful to be a three-press shop with some embroidery,” says Kesney. “But as we began to work toward our niche market of developing brands, we began to see this need for our community.” Kesney says the business was a magnet for young African American folks who “had great vision, cool ideas and just needed a little bit of help to bring it to life.”\u003c/p>\n\u003cfigure id=\"attachment_13886731\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg\" alt=\"Kesney Muhammad checking her phone in the Big Printing reception area \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7-1536x864.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/BP_KQED_7.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kesney Muhammad checks her phone in the Big Printing reception area. \u003ccite>( Lauren J. Richardson of LacedMedia)\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\">C\u003c/span>ontractually, Big Printing can’t reveal the name of the giant Fortune 500 company that placed the huge Black Lives Matter order. But years of doing business has led Kesney to understanding the importance of this purchase order, and how it is a step toward finding a remedy to the economic divide that exists in America.\u003c/p>\n\u003cp>Talking with her about it brought up issues I was familiar with, like the disparity in wealth between Black and white households, as well as the U.S. unemployment rate, which is always worse for African Americans than just about any other demographic. But until I talked to Kesney, I didn’t know that so few Black-owned businesses actually have employees.\u003c/p>\n\u003cp>Citing the U.S. Census 2012 Survey of Business Owners, \u003ca href=\"https://blackdemographics.com/economics/black-owned-businesses/\" target=\"_blank\" rel=\"noopener noreferrer\">BlackDemographics.com\u003c/a> reports that approximately 95% of African American businesses don’t have a staff, aside from the owner or partnership.\u003c/p>\n\u003cp>Couple that with the \u003ca href=\"https://www.nber.org/papers/w27309.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">National Bureau of Economic Research’s\u003c/a> analysis that during the early stages of COVID-19, “African-American businesses were hit especially hard, experiencing a 41 percent drop,” and you start to see how important it is for small, Black-owned businesses to be integrated into larger businesses’ supply chain.\u003c/p>\n\u003cp>Big Printing took some early licks this year when business slowed down in China, but otherwise they weren’t phased by COVID-19. If anything, the pandemic brought business to their door. “The business started to skyrocket,” says Dawaud, noting that they got a few people thanking them for simply being open.\u003c/p>\n\u003cp>But nothing was like the big order they received at the start of the summer.\u003c/p>\n\u003cp>“I don’t know anybody who’s done 100,000 shirts,” says Dawaud, proudly reflecting on the order his company fulfilled.\u003c/p>\n\u003cp>“We have a business,” says Kesney, in a grounding tone. “We work for the money that we earn. We do a damn good job for every client we go out and print. Just the chance to bid on this type of order is great for us, and well-deserved.”\u003c/p>\n\u003cfigure id=\"attachment_13886732\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1465-800x600.jpg\" alt=\"Hats being embroidered at the Big Printing HQ\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1465-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hats being embroidered at the Big Printing HQ. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After 25 years of steady growth, the giant order allowed Big Printing to increase their staff by nearly 20%, acquire new machinery and double their physical footprint, in just three weeks.\u003c/p>\n\u003cp>The beneficiaries of this investment will be the owners and employees, as well as the numerous members of the community the business serves, which is heavily African American.\u003c/p>\n\u003cp>Kesney and Dawaud understand that ripple effect. They also understand the waves of woes that Africans Americans face when it comes to inequalities, particularly economic inequality, in the United States.\u003c/p>\n\u003cp>To that, Dawaud says, “You can make a statement, or you can make a donation. But you really don’t have to go that far to make a difference. All you really have to do is go to your procurement department and ask them, ‘Are we doing any business with Black vendors?’ If not, then make a conscious effort to see about changing that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rediscovering the Social and Spiritual Legacy of Oakland's Black Jazz Records",
"headTitle": "Rediscovering the Social and Spiritual Legacy of Oakland’s Black Jazz Records | KQED",
"content": "\u003cp>The dawn of the ’70s were heady times for keyboardist Doug Carn and drummer Michael Carvin. Both men had recently relocated to Los Angeles from points south; Carn came from Florida, Carvin from Houston. Carn was getting gigs with well-known bands like Nat Adderly and Earth, Wind And Fire, while Carvin was getting work in television bands as a sideman. Most central to the pair, though, was the demo the two had recorded along with Carn’s wife, vocalist Jean Carn, that they thought marked the future of jazz. Inspired by three legendary African-Americans—Dr. Martin Luther King, John Coltrane and Muhammad Ali—Carn had written lyrics for music composed by Coltrane, McCoy Tyner and Wayne Shorter, which were then sung by Jean, who imbued the songs with an energetic vibrance. “I felt we were creating a new set of standards,” Doug Carn tells NPR Music.\u003c/p>\n\u003cp>Carn took the demo to some of the prominent jazz labels of the time, like Blue Note, Impulse! and Columbia, but, to his honest surprise, found no takers. Even in retrospect, it is a head-scratcher; the music’s spiritual overtones both echoed Coltrane, just a few years removed from his death and already a towering figure, and the work of one of Coltrane’s proteges, Pharoah Sanders, who notched a hit in 1969 with the song “The Creator Has a Master Plan,” from his 1969 recording \u003cem>Karma—\u003c/em>a cornerstone of the spiritual jazz that Carn was creating. Plus, the sound of Carn’s ensemble had a pan-African feel in the rhythms, which echoed a trend in several jazz styles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=2&v=QZ6lB7FKxi8\u003c/p>\n\u003cp>Still without a home for their recordings, Carn and Carvin then heard of a new label, Black Jazz Records, which was being run in Oakland by Gene Russell, a pianist who had scored a minor hit with the piano trio album \u003cem>Up And Away\u003c/em>, which featured covers of contemporary pop tunes. Russell was planning to make his new label focus on artistic self-determination, rather than conformity to the marketplace.\u003c/p>\n\u003cfigure id=\"attachment_13886751\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe\" alt=\"The cover photograph for Gene Russell's album 'New Direction,' the first release on Black Jazz.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0-160x160.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cover photograph for Gene Russell’s album ‘New Direction,’ the first release on Black Jazz. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art told the story of his transition: Russell’s Decca recording had featured its title in a bright, psychedelic color scheme, overlaid on a photo of Russell in the engine of an airplane, holding balloons. It’s presentation was whimsical; almost a rebuttal of the tumult in the streets. The first release on Black Jazz, his own album, aptly titled \u003cem>New Direction,\u003c/em> featured a black-and-white photo with a black frame and white typeface. The logo featured a soul-brother handshake, and the photo of Russell was of him in a black hat and blue jeans, assertively looking at the camera, clearly an independent urban spirit. In style it was an endorsement of post Civil Rights life for African Americans; there was less need to please the dominant society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carn and Carvin were all-too-right about their hunch. Russell heard the demo and, rather than send them into the studio to record fuller versions of the music, simply released it as \u003cem>Infant Eyes\u003c/em>, one of the first recordings on his new imprint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=38OXtiRZ2ig\u003c/p>\n\u003cp>Jazz has always been a celebration of Black self-determination, but the jazz recording industry often failed to reflect that priority. Russell and his co-founder, Dick Schory, were among several artists and businessmen eager to challenge the paradigm. They weren’t alone—the late ’60s and early ’70s witnessed a flowering of independent spirit in the jazz community. Collectives sprung up around the country—the Association of the Advancement of Creative Musicians in Chicago (AACM), the Black Artists Group in St. Louis, the Union of God’s Musicians and Artists Ascension in Los Angeles all among them—to present and nurture the creation of a new music.\u003c/p>\n\u003cp>Artist-run labels followed in the same spirit. Sun Ra had created El Saturn Records to release his own work. Betty Carter created Bet-Car for hers. Trumpeter Charles Tolliver and pianist Stanley Cowell formed Strata East as a home for their work and that of their peers. DJ and impresario Jimmy Gray and saxophonist James Branch launched Black Fire Records to document the burgeoning African-American music scene in Washington, D.C. All of these labels captured a moment when Black people—musicians and fans alike—were resisting the definitions that had been imposed on them by white society and creating different sounds of blackness. Black Jazz Records was one of the biggest and most ambitious among them.\u003c/p>\n\u003cfigure id=\"attachment_13886752\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg\" alt=\"The Black Jazz logo featured a soul-brother handshake.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Jazz logo. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Jazz was founded in Oakland, also home to the Black Panther Party, an enduring icon of the African-American struggle for self-determination. Russell and Schory ran it from that city until 1975, after having released 20 albums, and in the ensuing 45 years the music has gone in and out of print, admired by jazz-influenced hip-hop artists and DJs and crate diggers everywhere. In late summer, Real Gone Music, an imprint dedicated to reviving lost catalogues of albums, \u003ca href=\"https://urldefense.com/v3/__https://shop.realgonemusic.com/collections/vinyl/black-jazz__;!!Iwwt!B9lSnzFCndHopsQyvms2e3BM_TUqcAIvNfn5QwrPPrNGfz07b8dhSp4UljbqGw%24\" target=\"_blank\" rel=\"noopener noreferrer\">launched an eighteen-month program\u003c/a> which will put the entirety of the Black Jazz Records portfolio back in print. The breadth of the work is exceptional; even from an era where musical boundaries blurred, the Black Records sound is unusually diverse. There is classic piano-trio music from Russell, innovative larger-group work by bands like The Awakening and stunning vocal albums by newcomers like Kellee Patterson. Aaron Cohen, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/M/bo18705279.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Move On Up: Chicago Soul Music and Black Cultural Power\u003c/em>\u003c/a>, wrote of the era: “… it seems like there was a conscious effort to find artists who engaged with the manifold and diverse expressions of African-American music at the time, whether it was more popular leaning or more experimental. Indeed, Black Jazz showed that those impulses need not be mutually exclusive.”\u003c/p>\n\u003cp>The range of recordings in the first batch of Black Jazz Records reissues show this clearly. Carn’s \u003cem>Spirit of the New Land\u003c/em> has the distinctive style hallmarks of the Black Jazz catalog (\u003cem>Infant Eyes\u003c/em> will release in spring 2021). An illustrious ensemble that included Tolliver on flugelhorn, Alphonse Mouzon (who later gained renown with Larry Coryell and Weather Report) on drums and Earl McIntyre, whose credits range from Stevie Wonder to Cecil Taylor, on tuba, all playing Carn originals as well as Miles Davis’s “Blue in Green” and Lee Morgan’s “Search for the New Land,” each with lyrics added by the keyboardist. He said it reflected that it was “a crucial time on Black struggle in America.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q1iYOsc0dv4&list=PLwZ1XNI9r5B6IDrYVEwz85GQoMLMJu097\u003c/p>\n\u003cp>The other recordings in the first set of reissues are a dynamic session led by pianist Walter Bishop, with trumpeter Woody Shaw, saxophonist Harold Vick and bassist Reggie Johnson, and a superb recording by the Chicago-based group The Awakening, a band which featured several musicians associated with the AACM there. That latter album begins and ends with recitations of poetry, and in-between features exceptional hard bop-inspired virtuosity. In late September, the label will release \u003cem>Maiden Voyage\u003c/em>, the debut recording from Kellee Patterson, who was the first Black woman to compete in the Miss America Pageant.\u003c/p>\n\u003cp>By 1975, Russell was looking to branch out beyond jazz. He closed Black Jazz Records and launched a new imprint, Aquarican, but managed to release only one album through it (\u003cem>Chyenne’s Coming\u003c/em> by Chyenne Flower, a jazz-rock group somewhat reminiscent of Tower of Power) before his death in 1981. Although Russell’s artists continued to thrive—most notably Jean Carn who, as Jean Carne, had a stellar career as an R&B singer—the music of Russell’s Black Jazz Records label has remained obscure, principally known only to aficionados like the DJ and producer Gilles Peterson.Gordon Anderson of Real Gone Music, a nine-year-old company that specializes in reviving vintage catalogs, took an interest in remedying that obscurity. He says that he was motivated in part by the prices Black Jazz Records were fetching from collectors, “here’s a label with only 20 records that [were all] very sought after.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QjysP0PTthY\u003c/p>\n\u003cp>But, as the release dates for the first Black Jazz reissues approached, ownership disputes broke out, with several parties claiming rights to the music and Russell’s heirs wanting their share, too. As of this writing, there is no legal clarity around the matter; all of the parties are searching for documents to substantiate their contentions. Meanwhile, many of the musicians involved acknowledge that, while Russell presented the label as his, there was doubt that he had funded it himself.\u003c/p>\n\u003cp>The pending reissues triggered another strong reaction overseas, where concerts were held in advance of the 50th anniversary of the label. Last autumn, there were sold-out shows in Paris and Berlin (a London booking was postponed due to the pandemic). “It was amazing,” said Carvin. “Almost 50 years after the release of these records, places were sold out, standing-room-only-type crowds, to hear the music we were making back then.” He was also pleased to see that the crowds weren’t older people indulging nostalgia, but younger folks discovering the style, too.\u003c/p>\n\u003cp>In some ways, it’s not surprising. The Afro-Diasporic sound of Black Jazz can be found in numerous artists on today’s scene: Kamasi Washington, Nubya Garcia, Shabaka Hutchings and many more echo both the musical diversity and spiritual aspects of the Black Jazz aesthetic. Cohen agrees with the resonance, noting that artists like Angel Bat Dawid likely heard the music of\u003cem> The Awakening\u003c/em>, and that the underlying philosophy from that era has spread far and wide.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The jazz, R&B and spoken word hybrids from decades ago have clear connections to jazz, R&B and hip hop/spoken word today. The times that Black Jazz records have been sampled have also been a part of its legacy (I counted at least a dozen on whosampled.com),” Cohen writes in an email. Also, he notes the self-reliance aspect being crucial to music in the diminished state of the recording industry today, and he concluded, “issues of social consciousness that undoubtedly fueled the rise of such companies as Black Jazz have reverberated today through the Black Lives Matter movement.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rediscovering+The+Enormous+Social+And+Spiritual+Legacy+Of+Black+Jazz+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The dawn of the ’70s were heady times for keyboardist Doug Carn and drummer Michael Carvin. Both men had recently relocated to Los Angeles from points south; Carn came from Florida, Carvin from Houston. Carn was getting gigs with well-known bands like Nat Adderly and Earth, Wind And Fire, while Carvin was getting work in television bands as a sideman. Most central to the pair, though, was the demo the two had recorded along with Carn’s wife, vocalist Jean Carn, that they thought marked the future of jazz. Inspired by three legendary African-Americans—Dr. Martin Luther King, John Coltrane and Muhammad Ali—Carn had written lyrics for music composed by Coltrane, McCoy Tyner and Wayne Shorter, which were then sung by Jean, who imbued the songs with an energetic vibrance. “I felt we were creating a new set of standards,” Doug Carn tells NPR Music.\u003c/p>\n\u003cp>Carn took the demo to some of the prominent jazz labels of the time, like Blue Note, Impulse! and Columbia, but, to his honest surprise, found no takers. Even in retrospect, it is a head-scratcher; the music’s spiritual overtones both echoed Coltrane, just a few years removed from his death and already a towering figure, and the work of one of Coltrane’s proteges, Pharoah Sanders, who notched a hit in 1969 with the song “The Creator Has a Master Plan,” from his 1969 recording \u003cem>Karma—\u003c/em>a cornerstone of the spiritual jazz that Carn was creating. Plus, the sound of Carn’s ensemble had a pan-African feel in the rhythms, which echoed a trend in several jazz styles.\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/QZ6lB7FKxi8'\n title='//www.youtube.com/embed/QZ6lB7FKxi8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still without a home for their recordings, Carn and Carvin then heard of a new label, Black Jazz Records, which was being run in Oakland by Gene Russell, a pianist who had scored a minor hit with the piano trio album \u003cem>Up And Away\u003c/em>, which featured covers of contemporary pop tunes. Russell was planning to make his new label focus on artistic self-determination, rather than conformity to the marketplace.\u003c/p>\n\u003cfigure id=\"attachment_13886751\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886751\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe\" alt=\"The cover photograph for Gene Russell's album 'New Direction,' the first release on Black Jazz.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/gene-russell-cover-art_sq-acc8a702634847bfd8f3da52fc75dd50c3c0efb0-160x160.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The cover photograph for Gene Russell’s album ‘New Direction,’ the first release on Black Jazz. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The cover art told the story of his transition: Russell’s Decca recording had featured its title in a bright, psychedelic color scheme, overlaid on a photo of Russell in the engine of an airplane, holding balloons. It’s presentation was whimsical; almost a rebuttal of the tumult in the streets. The first release on Black Jazz, his own album, aptly titled \u003cem>New Direction,\u003c/em> featured a black-and-white photo with a black frame and white typeface. The logo featured a soul-brother handshake, and the photo of Russell was of him in a black hat and blue jeans, assertively looking at the camera, clearly an independent urban spirit. In style it was an endorsement of post Civil Rights life for African Americans; there was less need to please the dominant society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carn and Carvin were all-too-right about their hunch. Russell heard the demo and, rather than send them into the studio to record fuller versions of the music, simply released it as \u003cem>Infant Eyes\u003c/em>, one of the first recordings on his new imprint.\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/38OXtiRZ2ig'\n title='//www.youtube.com/embed/38OXtiRZ2ig'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jazz has always been a celebration of Black self-determination, but the jazz recording industry often failed to reflect that priority. Russell and his co-founder, Dick Schory, were among several artists and businessmen eager to challenge the paradigm. They weren’t alone—the late ’60s and early ’70s witnessed a flowering of independent spirit in the jazz community. Collectives sprung up around the country—the Association of the Advancement of Creative Musicians in Chicago (AACM), the Black Artists Group in St. Louis, the Union of God’s Musicians and Artists Ascension in Los Angeles all among them—to present and nurture the creation of a new music.\u003c/p>\n\u003cp>Artist-run labels followed in the same spirit. Sun Ra had created El Saturn Records to release his own work. Betty Carter created Bet-Car for hers. Trumpeter Charles Tolliver and pianist Stanley Cowell formed Strata East as a home for their work and that of their peers. DJ and impresario Jimmy Gray and saxophonist James Branch launched Black Fire Records to document the burgeoning African-American music scene in Washington, D.C. All of these labels captured a moment when Black people—musicians and fans alike—were resisting the definitions that had been imposed on them by white society and creating different sounds of blackness. Black Jazz Records was one of the biggest and most ambitious among them.\u003c/p>\n\u003cfigure id=\"attachment_13886752\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13886752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg\" alt=\"The Black Jazz logo featured a soul-brother handshake.\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/black-jazz-logo_sq-22dcf70d1f3b9c3f43526605a528c841b0b0a744-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">The Black Jazz logo. \u003ccite>(Courtesy of Real Gone Music)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Black Jazz was founded in Oakland, also home to the Black Panther Party, an enduring icon of the African-American struggle for self-determination. Russell and Schory ran it from that city until 1975, after having released 20 albums, and in the ensuing 45 years the music has gone in and out of print, admired by jazz-influenced hip-hop artists and DJs and crate diggers everywhere. In late summer, Real Gone Music, an imprint dedicated to reviving lost catalogues of albums, \u003ca href=\"https://urldefense.com/v3/__https://shop.realgonemusic.com/collections/vinyl/black-jazz__;!!Iwwt!B9lSnzFCndHopsQyvms2e3BM_TUqcAIvNfn5QwrPPrNGfz07b8dhSp4UljbqGw%24\" target=\"_blank\" rel=\"noopener noreferrer\">launched an eighteen-month program\u003c/a> which will put the entirety of the Black Jazz Records portfolio back in print. The breadth of the work is exceptional; even from an era where musical boundaries blurred, the Black Records sound is unusually diverse. There is classic piano-trio music from Russell, innovative larger-group work by bands like The Awakening and stunning vocal albums by newcomers like Kellee Patterson. Aaron Cohen, author of \u003ca href=\"https://press.uchicago.edu/ucp/books/book/chicago/M/bo18705279.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Move On Up: Chicago Soul Music and Black Cultural Power\u003c/em>\u003c/a>, wrote of the era: “… it seems like there was a conscious effort to find artists who engaged with the manifold and diverse expressions of African-American music at the time, whether it was more popular leaning or more experimental. Indeed, Black Jazz showed that those impulses need not be mutually exclusive.”\u003c/p>\n\u003cp>The range of recordings in the first batch of Black Jazz Records reissues show this clearly. Carn’s \u003cem>Spirit of the New Land\u003c/em> has the distinctive style hallmarks of the Black Jazz catalog (\u003cem>Infant Eyes\u003c/em> will release in spring 2021). An illustrious ensemble that included Tolliver on flugelhorn, Alphonse Mouzon (who later gained renown with Larry Coryell and Weather Report) on drums and Earl McIntyre, whose credits range from Stevie Wonder to Cecil Taylor, on tuba, all playing Carn originals as well as Miles Davis’s “Blue in Green” and Lee Morgan’s “Search for the New Land,” each with lyrics added by the keyboardist. He said it reflected that it was “a crucial time on Black struggle in America.”\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/Q1iYOsc0dv4'\n title='//www.youtube.com/embed/Q1iYOsc0dv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other recordings in the first set of reissues are a dynamic session led by pianist Walter Bishop, with trumpeter Woody Shaw, saxophonist Harold Vick and bassist Reggie Johnson, and a superb recording by the Chicago-based group The Awakening, a band which featured several musicians associated with the AACM there. That latter album begins and ends with recitations of poetry, and in-between features exceptional hard bop-inspired virtuosity. In late September, the label will release \u003cem>Maiden Voyage\u003c/em>, the debut recording from Kellee Patterson, who was the first Black woman to compete in the Miss America Pageant.\u003c/p>\n\u003cp>By 1975, Russell was looking to branch out beyond jazz. He closed Black Jazz Records and launched a new imprint, Aquarican, but managed to release only one album through it (\u003cem>Chyenne’s Coming\u003c/em> by Chyenne Flower, a jazz-rock group somewhat reminiscent of Tower of Power) before his death in 1981. Although Russell’s artists continued to thrive—most notably Jean Carn who, as Jean Carne, had a stellar career as an R&B singer—the music of Russell’s Black Jazz Records label has remained obscure, principally known only to aficionados like the DJ and producer Gilles Peterson.Gordon Anderson of Real Gone Music, a nine-year-old company that specializes in reviving vintage catalogs, took an interest in remedying that obscurity. He says that he was motivated in part by the prices Black Jazz Records were fetching from collectors, “here’s a label with only 20 records that [were all] very sought after.”\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/QjysP0PTthY'\n title='//www.youtube.com/embed/QjysP0PTthY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But, as the release dates for the first Black Jazz reissues approached, ownership disputes broke out, with several parties claiming rights to the music and Russell’s heirs wanting their share, too. As of this writing, there is no legal clarity around the matter; all of the parties are searching for documents to substantiate their contentions. Meanwhile, many of the musicians involved acknowledge that, while Russell presented the label as his, there was doubt that he had funded it himself.\u003c/p>\n\u003cp>The pending reissues triggered another strong reaction overseas, where concerts were held in advance of the 50th anniversary of the label. Last autumn, there were sold-out shows in Paris and Berlin (a London booking was postponed due to the pandemic). “It was amazing,” said Carvin. “Almost 50 years after the release of these records, places were sold out, standing-room-only-type crowds, to hear the music we were making back then.” He was also pleased to see that the crowds weren’t older people indulging nostalgia, but younger folks discovering the style, too.\u003c/p>\n\u003cp>In some ways, it’s not surprising. The Afro-Diasporic sound of Black Jazz can be found in numerous artists on today’s scene: Kamasi Washington, Nubya Garcia, Shabaka Hutchings and many more echo both the musical diversity and spiritual aspects of the Black Jazz aesthetic. Cohen agrees with the resonance, noting that artists like Angel Bat Dawid likely heard the music of\u003cem> The Awakening\u003c/em>, and that the underlying philosophy from that era has spread far and wide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The jazz, R&B and spoken word hybrids from decades ago have clear connections to jazz, R&B and hip hop/spoken word today. The times that Black Jazz records have been sampled have also been a part of its legacy (I counted at least a dozen on whosampled.com),” Cohen writes in an email. Also, he notes the self-reliance aspect being crucial to music in the diminished state of the recording industry today, and he concluded, “issues of social consciousness that undoubtedly fueled the rise of such companies as Black Jazz have reverberated today through the Black Lives Matter movement.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rediscovering+The+Enormous+Social+And+Spiritual+Legacy+Of+Black+Jazz+Records&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Is there anything so pure as the friendship between the Bay Area’s Daveed Diggs and Rafael Casal? From Youth Speaks poetry slams to mixtapes to critically acclaimed feature films, Diggs and Casal have been creating together for over two decades. And with the duo recently slated to adapt their ode to Oakland, the film \u003cem>Blindspotting\u003c/em>, into a spinoff series for STARZ, the friends and creative partners are likely busy. Still, it’s no surprise that they’ve found time to come to the aid of one of their childhood hangouts, \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland.\u003c/p>\n\u003cp>An elaborate world of fairytales come to life, Children’s Fairyland invites close encounters. Meandering through the meticulously-crafted storybook sets originally created by architect William Russell Everitt, children get a chance to live out their fairytale fantasies, whether by gamboling through the “Alice in Wonderland” card maze, careening down the dragon slide, communing with a menagerie of whimsical creatures, or clambering aboard the Jolly Trolly. \u003ca href=\"https://boingboing.net/2019/05/10/childrens-fairyland-the-mid.html\" target=\"_blank\" rel=\"noopener noreferrer\">It’s even said that the place influenced the creation of Disneyland\u003c/a>, and that beloved puppet master Frank Oz got his start in show business as a member of Fairyland’s Vagabond Puppet theatre.\u003c/p>\n\u003cp>But after several rounds of pandemic layoffs, Children’s Fairyland is facing the possibility of permanent closure. So to celebrate the park’s 70-year anniversary, Diggs and Casal will host a “\u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">celebrity storytime\u003c/a>” Sept. 26 to raise funds for the charming institution. The virtual event is free to attend, with a handy donation link available for folks who want to contribute. Either way, watching the creators of the playful 2014 web series “Hobbes and Me” tell stories — with the help of some puppet co-hosts — will be a sweet balm for even the most jaded of hearts.\u003c/p>\n\u003cp>Celebrity Storytime streams Saturday, Sept. 26, at 6:30 p.m. \u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sx68TPu4dCk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Is there anything so pure as the friendship between the Bay Area’s Daveed Diggs and Rafael Casal? From Youth Speaks poetry slams to mixtapes to critically acclaimed feature films, Diggs and Casal have been creating together for over two decades. And with the duo recently slated to adapt their ode to Oakland, the film \u003cem>Blindspotting\u003c/em>, into a spinoff series for STARZ, the friends and creative partners are likely busy. Still, it’s no surprise that they’ve found time to come to the aid of one of their childhood hangouts, \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland.\u003c/p>\n\u003cp>An elaborate world of fairytales come to life, Children’s Fairyland invites close encounters. Meandering through the meticulously-crafted storybook sets originally created by architect William Russell Everitt, children get a chance to live out their fairytale fantasies, whether by gamboling through the “Alice in Wonderland” card maze, careening down the dragon slide, communing with a menagerie of whimsical creatures, or clambering aboard the Jolly Trolly. \u003ca href=\"https://boingboing.net/2019/05/10/childrens-fairyland-the-mid.html\" target=\"_blank\" rel=\"noopener noreferrer\">It’s even said that the place influenced the creation of Disneyland\u003c/a>, and that beloved puppet master Frank Oz got his start in show business as a member of Fairyland’s Vagabond Puppet theatre.\u003c/p>\n\u003cp>But after several rounds of pandemic layoffs, Children’s Fairyland is facing the possibility of permanent closure. So to celebrate the park’s 70-year anniversary, Diggs and Casal will host a “\u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">celebrity storytime\u003c/a>” Sept. 26 to raise funds for the charming institution. The virtual event is free to attend, with a handy donation link available for folks who want to contribute. Either way, watching the creators of the playful 2014 web series “Hobbes and Me” tell stories — with the help of some puppet co-hosts — will be a sweet balm for even the most jaded of hearts.\u003c/p>\n\u003cp>Celebrity Storytime streams Saturday, Sept. 26, at 6:30 p.m. \u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here.\u003c/a>\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/Sx68TPu4dCk'\n title='//www.youtube.com/embed/Sx68TPu4dCk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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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\">O\u003c/span>n my first listen to the nine-track project \u003cem>Twice on Sunday (Season 1)\u003c/em> by Grand Nationxl, I knew it was a significant piece of art. I had no idea it was the first shot in a series of blows that the collective, formed by over a dozen Bay Area artists, were looking to make on the preverbal \u003cem>rap game\u003c/em>.\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 the weeks following their first release in June, Grand Nationxl (named after a popular American-made muscle car) dropped multiple videos, appeared at the Portland-based Mic Check PDX virtual music festival, recorded podcast episodes and more.\u003c/p>\n\u003cp>Now that summer is coming to a close, Grand Nationxl—a wolf pack, as they sometimes refer to themselves—isn’t relenting. Today they dropped an updated edition of the first album—essentially a new release with nine new tracks. They also released the audio version of their live studio session, \u003cem>Live From Airship Laboratories.\u003c/em>\u003c/p>\n\u003cp>And recently they announced plans to open the floodgates for individual projects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The individuals? There’s a lot of ’em. Full disclosure: A few of ’em are folks I’d consider good friends. That said, I’m writing about them because given that I’ve been in a silo-styled apartment writing my ass off alone for the past six months, I kind of forgot how important it is to work with friends when making art. Until they reminded me.\u003c/p>\n\u003cfigure id=\"attachment_13886194\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1212-800x600.jpg\" alt=\"Grand Nationxl screens the visuals that accompany their album Twice on Sunday. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl screens the visuals that accompany their album ‘Twice on Sunday.’ \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\">O\u003c/span>n a Thursday evening last month, I stopped at a red light at 17th and Telegraph in Oakland. Across the street, I noticed two artists painting a three-story mural on the backside of YR Media’s building. I’d later find out it was \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and a friend, creating this big, bold beautiful work of art, and dancing while doing so.\u003c/p>\n\u003cp>I pulled through that intersection en route to a vacant parking lot on 13th Street between Broadway and Webster. That’s where Grand Nationxl was screening a filmed \u003ca href=\"https://youtu.be/YkSzMFX9HRc\" target=\"_blank\" rel=\"noopener noreferrer\">40-minute studio session\u003c/a> of their latest project.\u003c/p>\n\u003cp>(I almost hit one of those \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\" target=\"_blank\" rel=\"noopener noreferrer\">new little plant thingies\u003c/a> as I parked. Bounced out the car and noticed the sign for the now-shuttered Wolfman Books. Next to it, Good Mother Gallery had a mural of George Floyd on the wall. Signs of the time.)\u003c/p>\n\u003cp>I walked into a parking lot on the backside of the Tribune Tavern. On one wall was another Rachel Wolfe Goldsmith mural. On the other wall, the projected video images of \u003ca href=\"https://www.instagram.com/kvnalln/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/dameonbledsoe/\" target=\"_blank\" rel=\"noopener noreferrer\">D. Bledsoe\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/blvckachilles/\" target=\"_blank\" rel=\"noopener noreferrer\">Blvck Achilles\u003c/a>, \u003ca href=\"https://www.instagram.com/brookfieldduece/\" target=\"_blank\" rel=\"noopener noreferrer\">Brookfield Duece\u003c/a>, \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a>, \u003ca href=\"https://www.instagram.com/moegreen110/\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Green\u003c/a> (no relation), \u003ca href=\"https://www.instagram.com/pass510/\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz \u003c/a>, \u003ca href=\"https://www.instagram.com/manidraper/\" target=\"_blank\" rel=\"noopener noreferrer\">Mani Draper\u003c/a> and more.\u003c/p>\n\u003cp>In addition to the real-life presence of most of the roster of artists mentioned above, about 25–30 other people filled the lot. Everyone was masked, spread at proper intervals of distance, although handshakes and hugs were definitely exchanged as people took in the multimedia presentation.\u003c/p>\n\u003cp>Community, coming together to celebrate music that was born out of community.\u003c/p>\n\u003cp>https://youtu.be/Qpf4CJ6GpNU\u003c/p>\n\u003cp>The substance in Grand Nationxl’s songs range from Champ Green’s poetic philosophies on navigating Bay Area public transportation to Moe Green’s tribute to legendary R&B artists like Sam Cooke, Marvin Gaye and Vallejo’s Levitti.\u003c/p>\n\u003cp>They’re also rife with artistic articulation of the current human experience for some folks living in the Bay Area. During one of the recording sessions, Ian Kelly tells me, he was late to the studio because he was running errands for his job with Instacart. So in the verse he recorded that night, he cut himself off mid-flow, saying “I would give you sixteen, but Instacart calling”—and then he answers his phone.\u003c/p>\n\u003cp>In the filmed studio session of the song, the other participants in Grand Nationxl vibe with Kelly through the entire verse. And then during the Instacart phone call, they get completely still. The beat drops as Kelly answers the call, allowing him to clarify that the customer’s request is for whole milk and not two percent.\u003c/p>\n\u003cp>It’s just one of many standout moments in this project. It shows how much fun they were having as a collective, and at the same time, how applicable the lyrics are to real life. “Ever seen zombies that was yo classmates?” asks Brookfield Duece on one track. “Chevron settled to kill me early,” states D. Bledsoe on another. “What happens if I stop making excuses and really grow up?” rhetorically raps Kevin Allen on the album.\u003c/p>\n\u003cp>The lyrical sparring in the studio sessions led to raps so layered, it inspired Special, host of the \u003ca href=\"https://podcasts.apple.com/us/podcast/specialsays/id1466724968\" target=\"_blank\" rel=\"noopener noreferrer\">Special Delivery Podcast\u003c/a>, to do a series of episodes breaking down the stories behind the music.\u003c/p>\n\u003cp>In one interview, producer \u003ca href=\"https://www.instagram.com/rootsanbranches/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Basta\u003c/a> explains that multiple artists added different instruments to influence the composition and production of each song prior to any lyrics hitting the track. In another interview, Brookfield Duece explains how a song got named: old-school style, riding around in a car with each other, listening to the song and talking about it.\u003c/p>\n\u003cp>In-person, collaborative creation. It’s far from a revolutionary concept, but in 2020, it’s rare.\u003c/p>\n\u003cfigure id=\"attachment_13886196\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_2795-800x533.jpg\" alt=\"D. Bledsoe, Kevin Allen, Brookfield Duece, Passwurdz, Moe Green on the set of a video shoot in North Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D. Bledsoe, Kevin Allen, Brookfield Duece, Passwurdz, Moe Green on the set of a video shoot in North Oakland. \u003ccite>(Grand Nationxl)\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>n one episode, D. Bledsoe mentions a question that’s come up a few times: why there are so many dudes.\u003c/p>\n\u003cp>It’s the same discussion he, Kevin Allen and I had a few weeks ago. My point was about reading the room in the rap world. Women have been tired of being overlooked for a while now. And that there have been a few notable compilation-type projects as of late with few or no women present, referring to J.Cole & Co.’s \u003cem>Revenge of the Dreamers III\u003c/em> and E-40’s \u003cem>Practice Makes Paper\u003c/em>.\u003c/p>\n\u003cp>The first edition of Grand Nationxl’s \u003cem>Twice on Sunday (Season One)\u003c/em> features one woman: vocalist\u003ca href=\"https://www.instagram.com/katelamontsings/\" target=\"_blank\" rel=\"noopener noreferrer\"> Kate Lamont\u003c/a>, who appears on multiple tracks.\u003c/p>\n\u003cp>D. Bledsoe explained to Special during the podcast interview, as he and Kevin Allen did to me when we talked in person: the project happened organically, with a number of invites sent out widely to individuals of all backgrounds, letting them know what was in the works—tap in.\u003c/p>\n\u003cp>After that, a series of studio sessions were held, and whoever showed up got put on. It was that simple.\u003c/p>\n\u003cp>If we’re being honest, there’s value to any occasion that allows for a group of Black American men to come together, have fun, be vulnerable, share their truths, and create quality art for the masses.\u003c/p>\n\u003cp>“It’s not a group,” Brookfield Duece tells me in a later conversation, explaining that it’s “like a TV show” with recurring characters. He says there’s a certain intentionality to the parenthetical presence of “Season One.”\u003c/p>\n\u003cp>The second version of \u003cem>Twice on Sunday (Season 1)\u003c/em> features nine completely new songs, and \u003ca href=\"https://www.instagram.com/msjanehandcock/\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock\u003c/a> has her signature all over that project. On top of that, Jane, a vocalist and emcee from Richmond, is set to release an individual project titled \u003cem>Fa Real\u003c/em> in October; that’ll be the second solo release from the Grand Nationxl collective after Kevin Allen drops his \u003cem>Heroes Eventually Die\u003c/em> EP next week.\u003c/p>\n\u003cp>Looking down the line, each member of the collective has new releases planned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s an impressive assembly of artistic individuals. They’ve all got lives and careers that can stand on their own. They could’ve easily been sequestered in their apartments, writing their asses off alone, but no. They decided to come together and be part of a collective; or rather, a wolf pack.\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\">O\u003c/span>n my first listen to the nine-track project \u003cem>Twice on Sunday (Season 1)\u003c/em> by Grand Nationxl, I knew it was a significant piece of art. I had no idea it was the first shot in a series of blows that the collective, formed by over a dozen Bay Area artists, were looking to make on the preverbal \u003cem>rap game\u003c/em>.\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 the weeks following their first release in June, Grand Nationxl (named after a popular American-made muscle car) dropped multiple videos, appeared at the Portland-based Mic Check PDX virtual music festival, recorded podcast episodes and more.\u003c/p>\n\u003cp>Now that summer is coming to a close, Grand Nationxl—a wolf pack, as they sometimes refer to themselves—isn’t relenting. Today they dropped an updated edition of the first album—essentially a new release with nine new tracks. They also released the audio version of their live studio session, \u003cem>Live From Airship Laboratories.\u003c/em>\u003c/p>\n\u003cp>And recently they announced plans to open the floodgates for individual projects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The individuals? There’s a lot of ’em. Full disclosure: A few of ’em are folks I’d consider good friends. That said, I’m writing about them because given that I’ve been in a silo-styled apartment writing my ass off alone for the past six months, I kind of forgot how important it is to work with friends when making art. Until they reminded me.\u003c/p>\n\u003cfigure id=\"attachment_13886194\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_1212-800x600.jpg\" alt=\"Grand Nationxl screens the visuals that accompany their album Twice on Sunday. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_1212-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grand Nationxl screens the visuals that accompany their album ‘Twice on Sunday.’ \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\">O\u003c/span>n a Thursday evening last month, I stopped at a red light at 17th and Telegraph in Oakland. Across the street, I noticed two artists painting a three-story mural on the backside of YR Media’s building. I’d later find out it was \u003ca href=\"https://www.instagram.com/wolfe_.pack/\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe Goldsmith\u003c/a> and a friend, creating this big, bold beautiful work of art, and dancing while doing so.\u003c/p>\n\u003cp>I pulled through that intersection en route to a vacant parking lot on 13th Street between Broadway and Webster. That’s where Grand Nationxl was screening a filmed \u003ca href=\"https://youtu.be/YkSzMFX9HRc\" target=\"_blank\" rel=\"noopener noreferrer\">40-minute studio session\u003c/a> of their latest project.\u003c/p>\n\u003cp>(I almost hit one of those \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\" target=\"_blank\" rel=\"noopener noreferrer\">new little plant thingies\u003c/a> as I parked. Bounced out the car and noticed the sign for the now-shuttered Wolfman Books. Next to it, Good Mother Gallery had a mural of George Floyd on the wall. Signs of the time.)\u003c/p>\n\u003cp>I walked into a parking lot on the backside of the Tribune Tavern. On one wall was another Rachel Wolfe Goldsmith mural. On the other wall, the projected video images of \u003ca href=\"https://www.instagram.com/kvnalln/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Allen\u003c/a>, \u003ca href=\"https://www.instagram.com/dameonbledsoe/\" target=\"_blank\" rel=\"noopener noreferrer\">D. Bledsoe\u003c/a>, \u003ca href=\"https://www.instagram.com/firstnameian/\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>, \u003ca href=\"https://www.instagram.com/blvckachilles/\" target=\"_blank\" rel=\"noopener noreferrer\">Blvck Achilles\u003c/a>, \u003ca href=\"https://www.instagram.com/brookfieldduece/\" target=\"_blank\" rel=\"noopener noreferrer\">Brookfield Duece\u003c/a>, \u003ca href=\"https://www.instagram.com/champgreen/\" target=\"_blank\" rel=\"noopener noreferrer\">Champ Green\u003c/a>, \u003ca href=\"https://www.instagram.com/moegreen110/\" target=\"_blank\" rel=\"noopener noreferrer\">Moe Green\u003c/a> (no relation), \u003ca href=\"https://www.instagram.com/pass510/\" target=\"_blank\" rel=\"noopener noreferrer\">Passwurdz \u003c/a>, \u003ca href=\"https://www.instagram.com/manidraper/\" target=\"_blank\" rel=\"noopener noreferrer\">Mani Draper\u003c/a> and more.\u003c/p>\n\u003cp>In addition to the real-life presence of most of the roster of artists mentioned above, about 25–30 other people filled the lot. Everyone was masked, spread at proper intervals of distance, although handshakes and hugs were definitely exchanged as people took in the multimedia presentation.\u003c/p>\n\u003cp>Community, coming together to celebrate music that was born out of community.\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/Qpf4CJ6GpNU'\n title='//www.youtube.com/embed/Qpf4CJ6GpNU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The substance in Grand Nationxl’s songs range from Champ Green’s poetic philosophies on navigating Bay Area public transportation to Moe Green’s tribute to legendary R&B artists like Sam Cooke, Marvin Gaye and Vallejo’s Levitti.\u003c/p>\n\u003cp>They’re also rife with artistic articulation of the current human experience for some folks living in the Bay Area. During one of the recording sessions, Ian Kelly tells me, he was late to the studio because he was running errands for his job with Instacart. So in the verse he recorded that night, he cut himself off mid-flow, saying “I would give you sixteen, but Instacart calling”—and then he answers his phone.\u003c/p>\n\u003cp>In the filmed studio session of the song, the other participants in Grand Nationxl vibe with Kelly through the entire verse. And then during the Instacart phone call, they get completely still. The beat drops as Kelly answers the call, allowing him to clarify that the customer’s request is for whole milk and not two percent.\u003c/p>\n\u003cp>It’s just one of many standout moments in this project. It shows how much fun they were having as a collective, and at the same time, how applicable the lyrics are to real life. “Ever seen zombies that was yo classmates?” asks Brookfield Duece on one track. “Chevron settled to kill me early,” states D. Bledsoe on another. “What happens if I stop making excuses and really grow up?” rhetorically raps Kevin Allen on the album.\u003c/p>\n\u003cp>The lyrical sparring in the studio sessions led to raps so layered, it inspired Special, host of the \u003ca href=\"https://podcasts.apple.com/us/podcast/specialsays/id1466724968\" target=\"_blank\" rel=\"noopener noreferrer\">Special Delivery Podcast\u003c/a>, to do a series of episodes breaking down the stories behind the music.\u003c/p>\n\u003cp>In one interview, producer \u003ca href=\"https://www.instagram.com/rootsanbranches/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Basta\u003c/a> explains that multiple artists added different instruments to influence the composition and production of each song prior to any lyrics hitting the track. In another interview, Brookfield Duece explains how a song got named: old-school style, riding around in a car with each other, listening to the song and talking about it.\u003c/p>\n\u003cp>In-person, collaborative creation. It’s far from a revolutionary concept, but in 2020, it’s rare.\u003c/p>\n\u003cfigure id=\"attachment_13886196\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13886196\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/09/IMG_2795-800x533.jpg\" alt=\"D. Bledsoe, Kevin Allen, Brookfield Duece, Passwurdz, Moe Green on the set of a video shoot in North Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/09/IMG_2795.jpg 1688w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">D. Bledsoe, Kevin Allen, Brookfield Duece, Passwurdz, Moe Green on the set of a video shoot in North Oakland. \u003ccite>(Grand Nationxl)\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>n one episode, D. Bledsoe mentions a question that’s come up a few times: why there are so many dudes.\u003c/p>\n\u003cp>It’s the same discussion he, Kevin Allen and I had a few weeks ago. My point was about reading the room in the rap world. Women have been tired of being overlooked for a while now. And that there have been a few notable compilation-type projects as of late with few or no women present, referring to J.Cole & Co.’s \u003cem>Revenge of the Dreamers III\u003c/em> and E-40’s \u003cem>Practice Makes Paper\u003c/em>.\u003c/p>\n\u003cp>The first edition of Grand Nationxl’s \u003cem>Twice on Sunday (Season One)\u003c/em> features one woman: vocalist\u003ca href=\"https://www.instagram.com/katelamontsings/\" target=\"_blank\" rel=\"noopener noreferrer\"> Kate Lamont\u003c/a>, who appears on multiple tracks.\u003c/p>\n\u003cp>D. Bledsoe explained to Special during the podcast interview, as he and Kevin Allen did to me when we talked in person: the project happened organically, with a number of invites sent out widely to individuals of all backgrounds, letting them know what was in the works—tap in.\u003c/p>\n\u003cp>After that, a series of studio sessions were held, and whoever showed up got put on. It was that simple.\u003c/p>\n\u003cp>If we’re being honest, there’s value to any occasion that allows for a group of Black American men to come together, have fun, be vulnerable, share their truths, and create quality art for the masses.\u003c/p>\n\u003cp>“It’s not a group,” Brookfield Duece tells me in a later conversation, explaining that it’s “like a TV show” with recurring characters. He says there’s a certain intentionality to the parenthetical presence of “Season One.”\u003c/p>\n\u003cp>The second version of \u003cem>Twice on Sunday (Season 1)\u003c/em> features nine completely new songs, and \u003ca href=\"https://www.instagram.com/msjanehandcock/\" target=\"_blank\" rel=\"noopener noreferrer\">Jane Handcock\u003c/a> has her signature all over that project. On top of that, Jane, a vocalist and emcee from Richmond, is set to release an individual project titled \u003cem>Fa Real\u003c/em> in October; that’ll be the second solo release from the Grand Nationxl collective after Kevin Allen drops his \u003cem>Heroes Eventually Die\u003c/em> EP next week.\u003c/p>\n\u003cp>Looking down the line, each member of the collective has new releases planned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s an impressive assembly of artistic individuals. They’ve all got lives and careers that can stand on their own. They could’ve easily been sequestered in their apartments, writing their asses off alone, but no. They decided to come together and be part of a collective; or rather, a wolf pack.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Blindspotting,’ the TV Show, Coming to Starz",
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"content": "\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland’s Josh Johnson knows about the commitment, focus and strategy it takes to compete at a high level. He’s a professional NFL quarterback with over ten years of experience in the league. And recently, he’s taken those same qualities to the world of online gaming.\u003c/p>\n\u003cp>Johnson is a co-founder of the \u003ca href=\"https://www.uglworld.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ultimate Gaming League (UGL)\u003c/a>, an e-sports platform where gamers compete, create community, and talk trash to one another.\u003c/p>\n\u003cp>Beyond fun and games, Johnson says there are ample entrepreneurial opportunities in the world of digital gaming, especially when it comes to individuals branding themselves. Johnson’s aim is to make sure folks in his community are taking full advantage of the platforms that are growing more popular by the day.\u003c/p>\n\u003cp>Johnson, who along with professional football stars Marshawn Lynch and Marcus Peters, is a member of \u003ca href=\"https://www.instagram.com/fam1stfam/\" target=\"_blank\" rel=\"noopener noreferrer\">Fam1st Family.\u003c/a> Johnson leverages his connections with other pro athletes and entertainers to get them involved in UGL events, and now the league is constantly holding gaming competitions.\u003c/p>\n\u003cp>Johnson took a break from physical training and video game playing, to chop it up with me on this episode of\u003cem> Rightnowish\u003c/em>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2553904208\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Josh Johnson. \u003c/strong>\u003c/p>\n\u003cp>\u003ci>Pen: \u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">So, Josh, how did UGL get started?\u003c/span>\u003c/i>\u003c/p>\n\u003cp>Josh: \u003cspan style=\"font-weight: 400\">Just me, being a gamer. I played the game a lot – everybody always got mad at me for it. And when I got older, I saw, you know, that gaming was becoming an entrepreneurial opportunity. It started with me wanting to throw a Madden tournament, and then we threw something at the Beast Mode store. From there, once COVID hit, we evolved into online facing – really tapping into the streaming world and activating that. So, basically when this country opens back up we can be the online and in-person e-sports experience. \u003c/span>\u003c/p>\n\u003cp>\u003ci>Pen: \u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">The mindset that it takes to be a gamer: I imagine you have to put in your 10,000 hours to be tight at something. How does that compare to the mindset that it takes to be a professional NFL player?\u003c/span>\u003c/i>\u003c/p>\n\u003cp>Josh: \u003cspan style=\"font-weight: 400\">I think it’s the same, bruh. Honestly, I laugh about it now because some of these games are structured to where you can’t get good at it unless you put time in. Like, literally, you won’t be good. I know as a professional athlete, you gotta become one with the process. Which all we learn in any professional field is kind of the same thing. You gotta just put the time in, get the games in, not always focus on the gratifications. \u003c/span>\u003c/p>\n\u003cp>\u003ci>Pen\u003c/i>\u003cb>\u003ci>: \u003c/i>\u003c/b>\u003ci>\u003cspan style=\"font-weight: 400\">That’s funny, it made me think about old school Bo Jackson on Tecmo Bowl.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>Josh:\u003cspan style=\"font-weight: 400\"> Hell yeah. \u003c/span>\u003c/p>\n\u003cp>\u003ci>Pen: \u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">Where you can’t play as Bo Jackson, man that’s cheatin’! \u003c/span>\u003c/i>\u003c/p>\n\u003cp>Josh: \u003cspan style=\"font-weight: 400\">Man, that’s how we used to tell people! You can’t play with these teams, because they cheat. But now the game kinda structured it to where you can’t be good unless you put time in.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s Josh Johnson knows about the commitment, focus and strategy it takes to compete at a high level. He’s a professional NFL quarterback with over ten years of experience in the league. And recently, he’s taken those same qualities to the world of online gaming.\u003c/p>\n\u003cp>Johnson is a co-founder of the \u003ca href=\"https://www.uglworld.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ultimate Gaming League (UGL)\u003c/a>, an e-sports platform where gamers compete, create community, and talk trash to one another.\u003c/p>\n\u003cp>Beyond fun and games, Johnson says there are ample entrepreneurial opportunities in the world of digital gaming, especially when it comes to individuals branding themselves. Johnson’s aim is to make sure folks in his community are taking full advantage of the platforms that are growing more popular by the day.\u003c/p>\n\u003cp>Johnson, who along with professional football stars Marshawn Lynch and Marcus Peters, is a member of \u003ca href=\"https://www.instagram.com/fam1stfam/\" target=\"_blank\" rel=\"noopener noreferrer\">Fam1st Family.\u003c/a> Johnson leverages his connections with other pro athletes and entertainers to get them involved in UGL events, and now the league is constantly holding gaming competitions.\u003c/p>\n\u003cp>Johnson took a break from physical training and video game playing, to chop it up with me on this episode of\u003cem> Rightnowish\u003c/em>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC2553904208\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Josh Johnson. \u003c/strong>\u003c/p>\n\u003cp>\u003ci>Pen: \u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">So, Josh, how did UGL get started?\u003c/span>\u003c/i>\u003c/p>\n\u003cp>Josh: \u003cspan style=\"font-weight: 400\">Just me, being a gamer. I played the game a lot – everybody always got mad at me for it. And when I got older, I saw, you know, that gaming was becoming an entrepreneurial opportunity. It started with me wanting to throw a Madden tournament, and then we threw something at the Beast Mode store. From there, once COVID hit, we evolved into online facing – really tapping into the streaming world and activating that. So, basically when this country opens back up we can be the online and in-person e-sports experience. \u003c/span>\u003c/p>\n\u003cp>\u003ci>Pen: \u003c/i>\u003ci>\u003cspan style=\"font-weight: 400\">The mindset that it takes to be a gamer: I imagine you have to put in your 10,000 hours to be tight at something. How does that compare to the mindset that it takes to be a professional NFL player?\u003c/span>\u003c/i>\u003c/p>\n\u003cp>Josh: \u003cspan style=\"font-weight: 400\">I think it’s the same, bruh. 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You can’t play with these teams, because they cheat. But now the game kinda structured it to where you can’t be good unless you put time in.\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>With all that’s going on in the world, some folks might overlook the presidential election that’s in less than three months. But not Tracey L. Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/traceylross?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Tracey\u003c/a>, who was raised and politicized in Oakland, currently works as the Director of Federal Policy and Narrative Change at \u003ca href=\"https://www.policylink.org/aboutUs/staff/tracey-ross\" target=\"_blank\" rel=\"noopener noreferrer\">PolicyLink\u003c/a>. This means she serves as a bridge between policy researchers and elected officials.\u003c/p>\n\u003cp>She has a unique sense of America’s national political landscape and she wants to make sure people are aware of what’s at stake this coming fall, and how that will inform elections to come.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1098632742&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nListen to the full episode in the player above. Below are lightly edited excerpts of my conversation with Tracey L. Ross.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What do you do at your job?\u003c/em>\u003c/p>\n\u003cp>Tracey: So for the organization, I lead and coordinate our federal efforts. And the narrative change part of that work is helping to advance messages and communication to enable the kinds of policy changes we want.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha. Do you have any examples of what that looks like?\u003c/em>\u003c/p>\n\u003cp>Tracey: So right now I’m helping out with a big housing narrative change project. We want to be able to advance housing policies that are pushing us toward seeing housing as a human right, making sure that people aren’t being priced out of their neighborhoods, that people have just cause for their evictions. So in order for us to be able to have these more progressive and wide-sweeping policies, we need to get the idea that housing is a human right to catch on. And housing isn’t just this commodity or something as a wealth-building opportunity.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: Does it make a difference who gets elected this coming November?\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/em>\u003c/p>\n\u003cp>Tracey: \u003cspan style=\"font-weight: 400\">Absolutely, 100 percent. I appreciate why people might not be enthusiastic about their choices, and that happens every year. For me, it’s always a strategic choice. I’m not voting for a candidate who is a reflection of, like, my soul. I’m voting for the candidate that in my strategy and my advocacy is the one that I would prefer to push. And the reason why it really matters is we’re six months into a pandemic… I’m skipping over the past few years of harmful policies. But we’re six months into a global pandemic. And the current president is just now saying, maybe you should wear a face mask. He’s asleep at the helm. And it’s incredibly dangerous. Elections matter because the kinds of people that would be filled in the administration would believe in science, would be able to call out the kinds of racism and sexism and blatant things that have been upheld for the past few years. And so, you know, Biden is not a perfect candidate by any means, but he’s the candidate I want to push. So it absolutely matters.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">The common term is the lesser of two evils, but not necessarily the person you want as your soulmate or who you see your soul reflected in. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>Tracey: \u003cspan style=\"font-weight: 400\">Yeah. Yeah, that’s right. I know sometimes people be like, you know, this candidate doesn’t inspire me. I don’t look to politicians to be inspired. I’m inspired by movement leaders. And if the policies that they’re seeking have a better chance of being realized under one administration versus another, that’s reason enough for me to lean towards one side. \u003cb> \u003c/b>I think in this moment, everything that’s happening is requiring us to think bigger. \u003c/span>\u003cb> \u003c/b>And I’m hopeful that the election is going to be kind of a mandate on that, that people are saying we’re ready to go bigger, we’re ready to change our country in fundamental ways. even if, again, the candidates aren’t people’s top choices, we’re at a time where the public is getting so fired up and sophisticated and imaginative about what our country can be That I’m hopeful for what the people can do with this election.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With all that’s going on in the world, some folks might overlook the presidential election that’s in less than three months. But not Tracey L. Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/traceylross?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\" target=\"_blank\" rel=\"noopener noreferrer\">Tracey\u003c/a>, who was raised and politicized in Oakland, currently works as the Director of Federal Policy and Narrative Change at \u003ca href=\"https://www.policylink.org/aboutUs/staff/tracey-ross\" target=\"_blank\" rel=\"noopener noreferrer\">PolicyLink\u003c/a>. This means she serves as a bridge between policy researchers and elected officials.\u003c/p>\n\u003cp>She has a unique sense of America’s national political landscape and she wants to make sure people are aware of what’s at stake this coming fall, and how that will inform elections to come.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1098632742&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>\u003cbr>\nListen to the full episode in the player above. Below are lightly edited excerpts of my conversation with Tracey L. Ross.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What do you do at your job?\u003c/em>\u003c/p>\n\u003cp>Tracey: So for the organization, I lead and coordinate our federal efforts. And the narrative change part of that work is helping to advance messages and communication to enable the kinds of policy changes we want.\u003c/p>\n\u003cp>\u003cem>Pen: Gotcha. Do you have any examples of what that looks like?\u003c/em>\u003c/p>\n\u003cp>Tracey: So right now I’m helping out with a big housing narrative change project. We want to be able to advance housing policies that are pushing us toward seeing housing as a human right, making sure that people aren’t being priced out of their neighborhoods, that people have just cause for their evictions. So in order for us to be able to have these more progressive and wide-sweeping policies, we need to get the idea that housing is a human right to catch on. And housing isn’t just this commodity or something as a wealth-building opportunity.\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: Does it make a difference who gets elected this coming November?\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/em>\u003c/p>\n\u003cp>Tracey: \u003cspan style=\"font-weight: 400\">Absolutely, 100 percent. I appreciate why people might not be enthusiastic about their choices, and that happens every year. For me, it’s always a strategic choice. I’m not voting for a candidate who is a reflection of, like, my soul. I’m voting for the candidate that in my strategy and my advocacy is the one that I would prefer to push. And the reason why it really matters is we’re six months into a pandemic… I’m skipping over the past few years of harmful policies. But we’re six months into a global pandemic. And the current president is just now saying, maybe you should wear a face mask. He’s asleep at the helm. And it’s incredibly dangerous. Elections matter because the kinds of people that would be filled in the administration would believe in science, would be able to call out the kinds of racism and sexism and blatant things that have been upheld for the past few years. And so, you know, Biden is not a perfect candidate by any means, but he’s the candidate I want to push. So it absolutely matters.\u003c/span>\u003c/p>\n\u003cp>\u003cem>Pen: \u003cspan style=\"font-weight: 400\">The common term is the lesser of two evils, but not necessarily the person you want as your soulmate or who you see your soul reflected in. \u003c/span>\u003c/em>\u003c/p>\n\u003cp>Tracey: \u003cspan style=\"font-weight: 400\">Yeah. Yeah, that’s right. I know sometimes people be like, you know, this candidate doesn’t inspire me. I don’t look to politicians to be inspired. I’m inspired by movement leaders. And if the policies that they’re seeking have a better chance of being realized under one administration versus another, that’s reason enough for me to lean towards one side. \u003cb> \u003c/b>I think in this moment, everything that’s happening is requiring us to think bigger. \u003c/span>\u003cb> \u003c/b>And I’m hopeful that the election is going to be kind of a mandate on that, that people are saying we’re ready to go bigger, we’re ready to change our country in fundamental ways. even if, again, the candidates aren’t people’s top choices, we’re at a time where the public is getting so fired up and sophisticated and imaginative about what our country can be That I’m hopeful for what the people can do with this election.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[dropcap]T[/dropcap]he schism was glaring. In 1915, San Francisco’s Panama-Pacific International Exposition heralded itself as a showcase of modernity and progress. But for the duration of its nearly yearlong run, the world’s fair sold tickets to games and presentations so blatantly racist they sparked a Black-led demonstration that reverberated across the Bay area.\u003c/p>\n\u003cp>In the amusement section of the fair—known as the Joy Zone—booths like \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">The African Dip\u003c/a>, \u003ca href=\"http://davegilson.com/african-dip.html\" target=\"_blank\" rel=\"noopener noreferrer\">Soa Kum\u003c/a> and \u003ca href=\"https://link.springer.com/article/10.1007/s12138-019-00531-5\" target=\"_blank\" rel=\"noopener noreferrer\">Dixieland\u003c/a> used enormous racist effigies on their exteriors to attract visitors. The Dixieland booth even peddled old lies about “the antebellum days in the South,” when “the slaves were about the happiest and carefree beings on earth.” Nearby, in the Palace of Food Products, at the Sperry Flour Booth, Black women sold pancakes while dressed in full “mammy” attire.\u003c/p>\n\u003cp>[aside postid='arts_13881675']After four months of witnessing these displays, Black communities from around the Bay Area converged on San Francisco’s Ferry Building and formed a parade. The turnout was enormous; the \u003cem>Oakland Sunshine\u003c/em> reported, “Everybody shut up shop and [got] themselves across the channel.” A jubilant demonstration of flower-covered floats, choirs, flag-waving schoolchildren, streetcars full of Black women’s clubs and everyday workers moved down Market Street and, at Van Ness, entered the Joy Zone. The parade then proudly marched across the entire fair.\u003c/p>\n\u003cp>This was Alameda County Day: an event intricately organized not just to dispel the stereotypes on show at the fair, but to illustrate Black people’s contributions to the city, county and state. Leaving race out of the event’s title was a very specific decision—organizers had scrapped plans for a “Negro Day” just months earlier. Participants had no interest in being tokenized. This wasn’t merely about skin tone; it was a demand to be seen and treated as fellow, equal citizens.\u003c/p>\n\u003cp>At the time, the \u003cem>San Francisco Chronicle\u003c/em> called the event “a revelation.” Journalist \u003ca href=\"https://www.kqed.org/pop/102326/rebel-girls-from-bay-area-history-delilah-l-beasley-pioneering-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">Delilah L. Beasley\u003c/a> wrote in the \u003cem>Oakland Sunshine\u003c/em>: “The mere fact that colored children marched through the streets of San Francisco, carrying the Stars and Stripes, showed a decided advance and change of feeling toward the colored race in these parts.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The chairman of the committee that organized Alameda County Day wasn’t a man at all. She was a Black woman by the name of Myra Virginia Simmons. Her day jobs might have been decidedly low-key—the 35-year-old Oakland resident sold newspapers and worked as a domestic cook. But, to women and people of color around the Bay Area, she was a formidable campaigner and community leader.\u003c/p>\n\u003cfigure id=\"attachment_13884866\" class=\"wp-caption alignnone\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png\" alt=\"A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\" width=\"522\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM-160x104.png 160w\" sizes=\"auto, (max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\u003c/figcaption>\u003c/figure>\n\u003cp>[dropcap]S[/dropcap]immons had already served in an impressive number of capacities by the time Alameda County Day occurred on June 10, 1915. She was chair of the Women’s Civic and Progressive League in Oakland; president of the Colored American Equal Suffrage League; a sometimes speaker before the Woman’s Christian Temperance Union; a leader of the Alameda County Colored Americans; and president of the Civic Center Auxiliary, a Black women’s club.\u003c/p>\n\u003cp>[aside postid='pop_102326']Prior to Alameda County Day, the Civic Center Auxiliary had also taken the lead in a large protest against the conditions in San Quentin for inmates of color. Later it led protests alongside the NAACP against the glorification of the KKK and vilification of Black men in the 1916 movie \u003cem>The Birth of a Nation\u003c/em>. But the majority of Simmons’ activist energy was spent on gaining voting rights for women.\u003c/p>\n\u003cp>After California women narrowly earned the right to vote in 1911—by a margin of just \u003ca href=\"https://www.sos.ca.gov/elections/celebrating-womens-suffrage/california-women-suffrage-centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">3,587 votes\u003c/a>—Simmons only worked harder. A Nov. 23, 1911 edition of the \u003cem>San Francisco Call\u003c/em> newspaper reported that she was actively educating women about their voting rights and encouraging them to be politically active. She even went on to serve as a \u003ca href=\"https://elenorrooseveltdemocrats.org/?page_id=299\" target=\"_blank\" rel=\"noopener noreferrer\">precinct captain\u003c/a> during the first California election open to women.\u003c/p>\n\u003cp>The national battle for women’s suffrage, however, was still to be won, and women’s clubs were of vital importance, both socially and politically, in achieving this. Black women’s clubs, like Simmons’ Civic Center Auxiliary, and Oakland’s Fannie Jackson Coppin Club (named after the first Black woman to become a school principal) were focused on both civil and voting rights. Other women’s clubs, like San Francisco’s Votes For Women (led by the Pacific coast’s first female lawyer, \u003ca href=\"https://www.kqed.org/arts/13863165/the-wests-first-lady-lawyer-opened-doors-for-women-in-law\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Shortridge Foltz\u003c/a>) were more singular in their focus. San Jose’s interracial Suffrage Amendment League was one of several examples of women working together across racial boundaries.\u003c/p>\n\u003cp>The passage of the 19th Amendment in 1920 was made possible by the dogged work of these women’s organizational and outreach efforts. Simmons herself was such an active campaigner that her name regularly showed up in newspapers around the Bay, as she led high-profile planning meetings with her peers. (On just one page of the March 29, 1915 issue of the \u003cem>Oakland Sunshine\u003c/em>, she is mentioned in \u003ca href=\"https://texashistory.unt.edu/ark:/67531/metapth523614/m1/3/?q=Myra%20Virginia%20Simmons\" target=\"_blank\" rel=\"noopener noreferrer\">three separate stories\u003c/a>.)\u003c/p>\n\u003cp>[aside postid='arts_13892514']Many thousands of women fought for suffrage in the first decades of the 20th century, but Simmons went above and beyond; she was a natural born leader for whom no civic challenge was too great. She spent much of her later life in San Francisco, and lived to see the passage of 1964’s Civil Rights Act.\u003c/p>\n\u003cp>Myra Virginia Simmons died one year later at the age of 84. As is so often the case with suffragists of the period, photos of her remain elusive. Yet it seems highly likely she would have been present for the Oakland gathering of the California Federation of Colored Women’s Clubs in July 1915, as pictured at the top of this article. Though we cannot know which woman she is in the photo, in many ways she is all of them: determined, proud and poised to make a change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\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>\u003c/p>\n\u003cp>The chairman of the committee that organized Alameda County Day wasn’t a man at all. She was a Black woman by the name of Myra Virginia Simmons. Her day jobs might have been decidedly low-key—the 35-year-old Oakland resident sold newspapers and worked as a domestic cook. But, to women and people of color around the Bay Area, she was a formidable campaigner and community leader.\u003c/p>\n\u003cfigure id=\"attachment_13884866\" class=\"wp-caption alignnone\" style=\"max-width: 522px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png\" alt=\"A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\" width=\"522\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM.png 522w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-14-at-2.54.49-PM-160x104.png 160w\" sizes=\"auto, (max-width: 522px) 100vw, 522px\">\u003cfigcaption class=\"wp-caption-text\">A postcard commemorating the Panama–Pacific International Exposition. Its nickname, Jewel City, was the invention of a young girl named Virginia Stephens who had won a competition held by PPIE officials, to name the fair. Only when she participated in Alameda County Day did they find out she was Black.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>immons had already served in an impressive number of capacities by the time Alameda County Day occurred on June 10, 1915. She was chair of the Women’s Civic and Progressive League in Oakland; president of the Colored American Equal Suffrage League; a sometimes speaker before the Woman’s Christian Temperance Union; a leader of the Alameda County Colored Americans; and president of the Civic Center Auxiliary, a Black women’s club.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Prior to Alameda County Day, the Civic Center Auxiliary had also taken the lead in a large protest against the conditions in San Quentin for inmates of color. Later it led protests alongside the NAACP against the glorification of the KKK and vilification of Black men in the 1916 movie \u003cem>The Birth of a Nation\u003c/em>. But the majority of Simmons’ activist energy was spent on gaining voting rights for women.\u003c/p>\n\u003cp>After California women narrowly earned the right to vote in 1911—by a margin of just \u003ca href=\"https://www.sos.ca.gov/elections/celebrating-womens-suffrage/california-women-suffrage-centennial/\" target=\"_blank\" rel=\"noopener noreferrer\">3,587 votes\u003c/a>—Simmons only worked harder. A Nov. 23, 1911 edition of the \u003cem>San Francisco Call\u003c/em> newspaper reported that she was actively educating women about their voting rights and encouraging them to be politically active. She even went on to serve as a \u003ca href=\"https://elenorrooseveltdemocrats.org/?page_id=299\" target=\"_blank\" rel=\"noopener noreferrer\">precinct captain\u003c/a> during the first California election open to women.\u003c/p>\n\u003cp>The national battle for women’s suffrage, however, was still to be won, and women’s clubs were of vital importance, both socially and politically, in achieving this. Black women’s clubs, like Simmons’ Civic Center Auxiliary, and Oakland’s Fannie Jackson Coppin Club (named after the first Black woman to become a school principal) were focused on both civil and voting rights. Other women’s clubs, like San Francisco’s Votes For Women (led by the Pacific coast’s first female lawyer, \u003ca href=\"https://www.kqed.org/arts/13863165/the-wests-first-lady-lawyer-opened-doors-for-women-in-law\" target=\"_blank\" rel=\"noopener noreferrer\">Clara Shortridge Foltz\u003c/a>) were more singular in their focus. San Jose’s interracial Suffrage Amendment League was one of several examples of women working together across racial boundaries.\u003c/p>\n\u003cp>The passage of the 19th Amendment in 1920 was made possible by the dogged work of these women’s organizational and outreach efforts. Simmons herself was such an active campaigner that her name regularly showed up in newspapers around the Bay, as she led high-profile planning meetings with her peers. (On just one page of the March 29, 1915 issue of the \u003cem>Oakland Sunshine\u003c/em>, she is mentioned in \u003ca href=\"https://texashistory.unt.edu/ark:/67531/metapth523614/m1/3/?q=Myra%20Virginia%20Simmons\" target=\"_blank\" rel=\"noopener noreferrer\">three separate stories\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Many thousands of women fought for suffrage in the first decades of the 20th century, but Simmons went above and beyond; she was a natural born leader for whom no civic challenge was too great. She spent much of her later life in San Francisco, and lived to see the passage of 1964’s Civil Rights Act.\u003c/p>\n\u003cp>Myra Virginia Simmons died one year later at the age of 84. As is so often the case with suffragists of the period, photos of her remain elusive. Yet it seems highly likely she would have been present for the Oakland gathering of the California Federation of Colored Women’s Clubs in July 1915, as pictured at the top of this article. Though we cannot know which woman she is in the photo, in many ways she is all of them: determined, proud and poised to make a change.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>For stories on other Rebel Girls from Bay Area History, click \u003ca href=\"https://www.kqed.org/rebelgirls\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13884786\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/0-2-800x1067.jpg\" alt=\"Michael Muscadine in the community garden, in East Oakland's Fruitvale neighborhood.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2.jpg 1070w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Muscadine in the community garden, in East Oakland’s Fruitvale neighborhood. \u003ccite>(Michael Muscadine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Muscadine was born and raised in East Oakland’s Fruitvale neighborhood, where his family goes back several generations. Muscadine says that’s where his grandfather, \u003cspan style=\"font-weight: 400\">John Melendrez, instilled in him the idea of community oriented social activism. \u003c/span>\u003c/p>\n\u003cp>Now Muscadine works as a life coach at the Fruitvale-based nonprofit, CURYJ, which stands for \u003ca href=\"https://www.curyj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Communities United For Restorative Youth Justice. \u003c/a>Muscadine works directly with young folks– many of whom have had run-ins with the justice system– to assure that they have resources like food and housing.\u003c/p>\n\u003cp>Muscadine also works at a community garden in the same neighborhood where he works and lives. Through gardening, and his work at CURYJ, he’s literally planting seeds in the same place he has deep roots.\u003c/p>\n\u003cp>After listening to this episode of Rightnowish, read more on Michael Muscadine’s work on the California Funders for Boys and Men of Color’s “\u003ca href=\"https://heretoleadca.org/project/michael-muscadine-helping-young-people-find-their-power-and-their-voice/\" target=\"_blank\" rel=\"noopener noreferrer\">Here to Lead CA\u003c/a>” project.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1001275271&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Michael Muscadine.\u003c/strong>\u003c/p>\n\u003cp>Michael: Yes, my grandfather came here, bought a house in Fruitvale in 1964. And he was very active with a lot of organizing. Working with the Panthers, working with Cesar Chavez, working with the Native American movement, working with the Chicano movement. You know, all those movements that were going through Oakland from the 60s and 70s and 80s. The work I do is because of him planting those seeds and seeing those books in the basement and seeing those posters, like Malcolm X, and I’m like, whoa. So I was always brought up with knowing somewhat of Civil Rights in my culture, being fascinated of the stories that he did tell me. And I’m thankful for having those moments in those times of just him telling me to speak up when you feel something is not right.\u003c/p>\n\u003cp>\u003cem>Pen: Can you tell me a little bit about the impact that gang sweeps had on your life and your development?\u003c/em>\u003c/p>\n\u003cp>Michael: I believe this started in 2010 with the North Oakland gang injunction. And then it started and in Fruitvale in 2011 with the gang injunction.\u003c/p>\n\u003cp>\u003cem>Pen Script: The gang injunctions were a sweep of select neighborhoods by law enforcement, where they targeted the arrests of “suspected criminals.” byway of being a part of a certain neighborhood, Michael became a target. But to him, the worst run-in with the law came after a call about a family conflict, which resulted in Michael being assaulted by officers.\u003c/em>\u003c/p>\n\u003cp>Michael: I think that was the straw that broke the camel’s back for me, being beat by law enforcement, harassed, kicked, sent to the hospital. Them going in my house, just seeing them, like they just had hatred, you know? I would talk shit back because I knew my rights because of my grandfather teaching me that when I was young and knowing what they can and cannot do and holding them accountable.\u003c/p>\n\u003cp>Michael: I met folks that were organizing against these gang injunctions. And I never seen so many people of all colors, all different backgrounds, faith, reach out to me. You know, Black, brown, Asian, white came to support me. And I’m like, damn, this is what it looks like when we all fight against the system. So I started being very vocal against the gang injunctions in Oakland and letting the city council members know, like, “hey, my past is my past. Look at my present. Don’t keep looking about five, six years back. Look at what I’m doing now as a young man.”\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: What’s the importance of doing the work in terms of telling your story with the Here to Lead California project with that project?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>Michael: With that project, I think just telling my story for other young Native Chicano men or boys. To see someone that looks like them. Someone that represent them, that look like them, that came from the struggles that came from the same backgrounds, hardship. When I was younger, I had mentors that try to reach out to me, but they didn’t look like me. They didn’t stay in my community. They did not go through the struggles. They tried to relate. So just putting that story out there is motivating. I love to motivate folks. And even if they see me in, you know, in any way like, “Ay, damn, Mike did it, I’m gunna pull up then.” A lot of people, even my elders, tell me they’re like, “damn, Mike I thought you would of, out of all the people, you did a whole 360 cause you were–” I was like, “Was I that bad? Shit.” They were like, “Damn. We wouldn’t expect this. See what you’re doing here. We need that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13884786\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/0-2-800x1067.jpg\" alt=\"Michael Muscadine in the community garden, in East Oakland's Fruitvale neighborhood.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/0-2.jpg 1070w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Muscadine in the community garden, in East Oakland’s Fruitvale neighborhood. \u003ccite>(Michael Muscadine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Muscadine was born and raised in East Oakland’s Fruitvale neighborhood, where his family goes back several generations. Muscadine says that’s where his grandfather, \u003cspan style=\"font-weight: 400\">John Melendrez, instilled in him the idea of community oriented social activism. \u003c/span>\u003c/p>\n\u003cp>Now Muscadine works as a life coach at the Fruitvale-based nonprofit, CURYJ, which stands for \u003ca href=\"https://www.curyj.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Communities United For Restorative Youth Justice. \u003c/a>Muscadine works directly with young folks– many of whom have had run-ins with the justice system– to assure that they have resources like food and housing.\u003c/p>\n\u003cp>Muscadine also works at a community garden in the same neighborhood where he works and lives. Through gardening, and his work at CURYJ, he’s literally planting seeds in the same place he has deep roots.\u003c/p>\n\u003cp>After listening to this episode of Rightnowish, read more on Michael Muscadine’s work on the California Funders for Boys and Men of Color’s “\u003ca href=\"https://heretoleadca.org/project/michael-muscadine-helping-young-people-find-their-power-and-their-voice/\" target=\"_blank\" rel=\"noopener noreferrer\">Here to Lead CA\u003c/a>” project.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC1001275271&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Michael Muscadine.\u003c/strong>\u003c/p>\n\u003cp>Michael: Yes, my grandfather came here, bought a house in Fruitvale in 1964. And he was very active with a lot of organizing. Working with the Panthers, working with Cesar Chavez, working with the Native American movement, working with the Chicano movement. You know, all those movements that were going through Oakland from the 60s and 70s and 80s. The work I do is because of him planting those seeds and seeing those books in the basement and seeing those posters, like Malcolm X, and I’m like, whoa. So I was always brought up with knowing somewhat of Civil Rights in my culture, being fascinated of the stories that he did tell me. And I’m thankful for having those moments in those times of just him telling me to speak up when you feel something is not right.\u003c/p>\n\u003cp>\u003cem>Pen: Can you tell me a little bit about the impact that gang sweeps had on your life and your development?\u003c/em>\u003c/p>\n\u003cp>Michael: I believe this started in 2010 with the North Oakland gang injunction. And then it started and in Fruitvale in 2011 with the gang injunction.\u003c/p>\n\u003cp>\u003cem>Pen Script: The gang injunctions were a sweep of select neighborhoods by law enforcement, where they targeted the arrests of “suspected criminals.” byway of being a part of a certain neighborhood, Michael became a target. But to him, the worst run-in with the law came after a call about a family conflict, which resulted in Michael being assaulted by officers.\u003c/em>\u003c/p>\n\u003cp>Michael: I think that was the straw that broke the camel’s back for me, being beat by law enforcement, harassed, kicked, sent to the hospital. Them going in my house, just seeing them, like they just had hatred, you know? I would talk shit back because I knew my rights because of my grandfather teaching me that when I was young and knowing what they can and cannot do and holding them accountable.\u003c/p>\n\u003cp>Michael: I met folks that were organizing against these gang injunctions. And I never seen so many people of all colors, all different backgrounds, faith, reach out to me. You know, Black, brown, Asian, white came to support me. And I’m like, damn, this is what it looks like when we all fight against the system. So I started being very vocal against the gang injunctions in Oakland and letting the city council members know, like, “hey, my past is my past. Look at my present. Don’t keep looking about five, six years back. Look at what I’m doing now as a young man.”\u003c/p>\n\u003cp>\u003cem>\u003cspan style=\"font-weight: 400\">Pen: What’s the importance of doing the work in terms of telling your story with the Here to Lead California project with that project?\u003c/span>\u003c/em>\u003c/p>\n\u003cp>Michael: With that project, I think just telling my story for other young Native Chicano men or boys. To see someone that looks like them. Someone that represent them, that look like them, that came from the struggles that came from the same backgrounds, hardship. When I was younger, I had mentors that try to reach out to me, but they didn’t look like me. They didn’t stay in my community. They did not go through the struggles. They tried to relate. So just putting that story out there is motivating. I love to motivate folks. And even if they see me in, you know, in any way like, “Ay, damn, Mike did it, I’m gunna pull up then.” A lot of people, even my elders, tell me they’re like, “damn, Mike I thought you would of, out of all the people, you did a whole 360 cause you were–” I was like, “Was I that bad? Shit.” They were like, “Damn. We wouldn’t expect this. See what you’re doing here. We need that.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 8
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},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"airtime": "SUN 7:30pm-8pm",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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