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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>: This band plays their album \u003cem>Keep It Like a Secret\u003c/em> in its entirety this week in Sonoma. Here’s a story about that album: Gabe was working at a record store when it came out, and after picking up the shipment, he walked four blocks across downtown to the store, carrying copies of it—and he sold four copies to friends and strangers on the street, before the store was even open. It’s only gotten more beloved since, and this weekend, the band plays it inside a 100-year-old wooden barn, on a hill above a vineyard. That’s Saturday, Nov. 23, at Gundlach-Bundschu winery outside of Sonoma. \u003ca href=\"https://www.gunbun.com/event/built-to-spill/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mozzy\u003c/strong>: At the end of \u003cem>Black Panther\u003c/em>, when the Wakandan royalty visit Oakland, the slow-rolling, reflective music playing is “Sleep Walkin,” by Sacramento rapper Mozzy. This song placement, on a soundtrack executive-produced by Kendrick Lamar, was a major moment for an artist that’s been street famous in Northern California for years. Mozzy is a really inventive vocal stylist: he borrows sounds from the streets to create new words, and then uses these coinages for clever internal rhymes, all in a gangsta rap context reminiscent of the Jacka. While it remains to be seen to what extent his profile grows nationally, \u003cem>Black Panther\u003c/em> accurately captured how Mozzy’s music is a constant refrain in the Oakland flatlands. He plays Saturday, Nov. 23, at the Phoenix Theater in Petaluma. \u003ca href=\"https://www.thephoenixtheater.com/e/mozzy-75482942513/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Traitor’\u003c/strong>: The Cinema Italian Style festival kicks off this weekend with \u003cem>The Traitor\u003c/em>, a film about the implosion of the Sicilian mafia in the 1980s. This is a timely one, pegged pretty obviously to the recent release of Martin Scorcese’s \u003cem>The Irishman\u003c/em>. But whereas Scorcese often has a romanticized, admiring stance on the mafia, \u003cem>The Traitor\u003c/em> takes a bold look at the damage it’s done to Italy and its people. The rest of the festival includes some great films too, and runs Friday–Sunday, Nov. 22-24, at the Vogue Theater in San Francisco. \u003ca href=\"https://iicsanfrancisco.esteri.it/iic_sanfrancisco/en/gli_eventi/calendario/2019/11/cinema-italian-style-2019.html\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Bay Area Record Fest\u003c/strong>: It’s often said the Bay Area lacks music industry infrastructure, hence all of the artists moving to Los Angeles. But it never seems that way at the Bay Area Record Fest, an annual gathering of local independent labels that reliably reminds us of the music community’s breadth. It’s an opportunity to buy things and meet the people often cloistered in recording studios and the like. It’s also a show, this year with a strong local lineup: performance artist Tyler Holmes, pop punk bandleader Kevin Nichols, garage standbys Sonny & the Sunsets, and the rapper Tia Nomore. All of them are affiliated with participating local labels including Ratskin, Text Me and Rocks in Your Head. Earlier installments were in San Francisco, but this year the Bay Area Record Fest is at 7th West in Oakland on Saturday, Nov. 23. It’s free and doors open at noon. \u003ca href=\"https://www.facebook.com/events/679625295781036/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Slayer\u003c/strong>: We know that next week is Thanksgiving, and it can be a rough time if you don’t get along with your family. Slayer is basically the ultimate “I hate my family music,” right? They’ve been making parents angry for over 30 years with albums like \u003cem>Reign in Blood\u003c/em> and \u003cem>God Hates Us All\u003c/em>. They’ve also been threatening to call it a day, so see ‘em while you can, and bring your estranged siblings. That’s on Tuesday, Nov. 26, at the Oakland Arena. \u003ca href=\"https://www.livenation.com/events/1146211-nov-26-2019-slayer\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>: This band plays their album \u003cem>Keep It Like a Secret\u003c/em> in its entirety this week in Sonoma. Here’s a story about that album: Gabe was working at a record store when it came out, and after picking up the shipment, he walked four blocks across downtown to the store, carrying copies of it—and he sold four copies to friends and strangers on the street, before the store was even open. It’s only gotten more beloved since, and this weekend, the band plays it inside a 100-year-old wooden barn, on a hill above a vineyard. That’s Saturday, Nov. 23, at Gundlach-Bundschu winery outside of Sonoma. \u003ca href=\"https://www.gunbun.com/event/built-to-spill/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mozzy\u003c/strong>: At the end of \u003cem>Black Panther\u003c/em>, when the Wakandan royalty visit Oakland, the slow-rolling, reflective music playing is “Sleep Walkin,” by Sacramento rapper Mozzy. This song placement, on a soundtrack executive-produced by Kendrick Lamar, was a major moment for an artist that’s been street famous in Northern California for years. Mozzy is a really inventive vocal stylist: he borrows sounds from the streets to create new words, and then uses these coinages for clever internal rhymes, all in a gangsta rap context reminiscent of the Jacka. While it remains to be seen to what extent his profile grows nationally, \u003cem>Black Panther\u003c/em> accurately captured how Mozzy’s music is a constant refrain in the Oakland flatlands. He plays Saturday, Nov. 23, at the Phoenix Theater in Petaluma. \u003ca href=\"https://www.thephoenixtheater.com/e/mozzy-75482942513/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Traitor’\u003c/strong>: The Cinema Italian Style festival kicks off this weekend with \u003cem>The Traitor\u003c/em>, a film about the implosion of the Sicilian mafia in the 1980s. This is a timely one, pegged pretty obviously to the recent release of Martin Scorcese’s \u003cem>The Irishman\u003c/em>. But whereas Scorcese often has a romanticized, admiring stance on the mafia, \u003cem>The Traitor\u003c/em> takes a bold look at the damage it’s done to Italy and its people. The rest of the festival includes some great films too, and runs Friday–Sunday, Nov. 22-24, at the Vogue Theater in San Francisco. \u003ca href=\"https://iicsanfrancisco.esteri.it/iic_sanfrancisco/en/gli_eventi/calendario/2019/11/cinema-italian-style-2019.html\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Bay Area Record Fest\u003c/strong>: It’s often said the Bay Area lacks music industry infrastructure, hence all of the artists moving to Los Angeles. But it never seems that way at the Bay Area Record Fest, an annual gathering of local independent labels that reliably reminds us of the music community’s breadth. It’s an opportunity to buy things and meet the people often cloistered in recording studios and the like. It’s also a show, this year with a strong local lineup: performance artist Tyler Holmes, pop punk bandleader Kevin Nichols, garage standbys Sonny & the Sunsets, and the rapper Tia Nomore. All of them are affiliated with participating local labels including Ratskin, Text Me and Rocks in Your Head. Earlier installments were in San Francisco, but this year the Bay Area Record Fest is at 7th West in Oakland on Saturday, Nov. 23. It’s free and doors open at noon. \u003ca href=\"https://www.facebook.com/events/679625295781036/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Slayer\u003c/strong>: We know that next week is Thanksgiving, and it can be a rough time if you don’t get along with your family. Slayer is basically the ultimate “I hate my family music,” right? They’ve been making parents angry for over 30 years with albums like \u003cem>Reign in Blood\u003c/em> and \u003cem>God Hates Us All\u003c/em>. They’ve also been threatening to call it a day, so see ‘em while you can, and bring your estranged siblings. That’s on Tuesday, Nov. 26, at the Oakland Arena. \u003ca href=\"https://www.livenation.com/events/1146211-nov-26-2019-slayer\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been two weeks since AfroTech has come and gone in Oakland, and I’m still hearing things about it—some good, and some not so good.\u003c/p>\n\u003cp>In fact, on \u003ca href=\"https://www.facebook.com/events/571621730266616/\">Thursday, Nov. 21\u003c/a>, The Town Experience hosts an open forum from 5:30pm–7:30pm at the Uptown in Oakland for people to share their experiences. Charlese Banks of The Town Experience is the lead organizer of the upcoming forum, which AfroTech management says they’ll use to inform next year’s conference.\u003c/p>\n\u003cp>“The demand for something like this was high,” says Banks. “So we’re going to have a constructive feedback session.”\u003c/p>\n\u003cp>That’s good, because for the past few days, the conversation has been living rent-free inside of my head.\u003c/p>\n\u003cp>The conference, which aims to connect the black community with the tech industry, was a beautiful gathering with thousands of people in attendance. \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/He-s-working-to-diversify-the-tech-industry-14833097.php\" target=\"_blank\" rel=\"noopener noreferrer\">Students from local schools\u003c/a> were represented, Congresswoman Barbara Lee was honored for her work and \u003ca href=\"https://www.kqed.org/forum/2010101874437/bernard-tyson-ceo-of-kaiser-permanente-dies-at-60\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard J. Tyson\u003c/a>, the first African American chief executive officer of Kaiser Permanente, spoke just hours before he passed in his sleep.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the streets just outside of the conference, brown-skinned women in yellow blazers with long curly locs walked past dark-skinned men in collard shirts with deep waves. I hadn’t seen that many black folks concentrated at one spot in Oakland since \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">BBQ’n While Black\u003c/a>. Walking around at night, I saw groups of black folks trickling into a private event at Plank in Jack London Square, packed house-party-style inside of Miss Ollies in Old Oakland and circled-up at the bar inside of 7th West.\u003c/p>\n\u003cfigure id=\"attachment_13870003\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg\" alt=\"At the West Oakland Youth Center, young people making video games with assistance from the Hidden Genius Project and The David Glover Digital Technology Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the West Oakland Youth Center, young people making video games with assistance from the The Hidden Genius Project and The David Glover Digital Technology Center. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, before the official start of the conference, I stopped by the West Oakland Youth Center, where folks from the \u003ca href=\"https://www.degetc.org/\">David Glover Emerging Technology Center\u003c/a> and \u003ca href=\"http://www.hiddengeniusproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Hidden Genius Project\u003c/a> had teamed up with the\u003ca href=\"https://www.fam1stfamilyfoundation.org/\"> Fam1st Family Foundation\u003c/a> to hold a coding workshop for a bouncy group of preteen boys and girls, all of them African American.\u003c/p>\n\u003cp>“We’re here doing this all the time,” said Akeem Brown, Program Director with The Hidden Genius Project. They meet there regularly, every Tuesday and Thursday, AfroTech or not.\u003c/p>\n\u003cp>It was like a sitcom the way he finished his sentence and not even a minute later, a guy named Tony walked in the youth center—black luggage bag on wheels in tow—fresh off the airplane from Los Angeles. He said he was in town for the conference, and wanted to apply for a job with The Hidden Genius Project.\u003c/p>\n\u003cp>And so the conference was a job fair, technical workshop and family reunion all in one. As The Hidden Genius Project’s Executive Director Brandon Nicholson told me, “It’s just like Howard Homecoming.”\u003c/p>\n\u003cp>I could see that.\u003c/p>\n\u003cp>The black working class and middle class, coming together to strive for further upward mobility and simultaneously celebrate black excellence… all while some disenfranchised locals feel overlooked. That’s how it was when I was at Howard University. That’s how some felt about AfroTech.\u003c/p>\n\u003cp>Despite the free community stage and open workshops, it was the closed sessions, private clubs and $450 conference ticket price that left a number of people feeling like it wasn’t for them.\u003c/p>\n\u003cp>A few people told me in person, while others left comments on chat boards. And then there was this thread attached to\u003ca href=\"https://twitter.com/OGpenn/status/1192926822771478528?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> a tweet\u003c/a> I posted during the conference.\u003c/p>\n\u003cp>Right before I left AfroTech in Old Oakland on Friday, I talked to a guy named Ron, an unsheltered guy who lives on the corner of Eighth & Clay Streets with his partner. I simply asked him if he’d seen any changes in the way he’s been treated this weekend, given there was a conference celebrating black excellence in the extremely lucrative field of technology, right there in his backyard. “Na, they step over me just like everyone else,” Ron told me.\u003c/p>\n\u003cp>I tweeted the interaction out. It ruffled a few feathers, for better or worse.\u003c/p>\n\u003cfigure id=\"attachment_13870017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png\" alt=\"A sound response. \" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-768x547.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM.png 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sound response.\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t a shot at AfroTech, or even a commentary on the attendees. It was just an observation; a note about the conflicting juxtaposition I’d just witnessed.\u003c/p>\n\u003cp>I mean, on one hand, you’ve got people talking about how \u003ca href=\"https://twitter.com/awholecatfish/status/1192915445801635840?s=20\">AfroTech had downtown Oakland looking like Wakanda\u003c/a>.\u003c/p>\n\u003cp>And on the other hand, here’s Ron, a homeless African American man. In a place where \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70% of the unsheltered people are African American\u003c/a>. A place that’s currently going through a homeless crisis that the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a> has called “cruel and inhuman.”\u003c/p>\n\u003cp>A place where, literally as AfroTech was going on, a group of unsheltered people were \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/Longtime-Oakland-residents-now-homeless-14815555.php\">evicted from an encampment\u003c/a>—many of them African American Oakland natives.\u003c/p>\n\u003cp>And days later, as I type this, Dominique Walker and Sameerah Karim, two African American mothers associated with the group \u003ca href=\"https://twitter.com/moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, have commandeered a vacant house in West Oakland that was foreclosed on and then purchased by \u003ca href=\"https://protect-us.mimecast.com/s/qw-mCADmygF91V0nh8YBoy?domain=wedgewood-inc.com\" target=\"_blank\" rel=\"noopener noreferrer\">Wedgewood Properties.\u003c/a>\u003c/p>\n\u003cp>It’s drastic times in the town right now when it comes to black folks and housing. And I can’t stop thinking about it. Reading about it. Researching.\u003c/p>\n\u003cp>A further illustration of the point about race and class: between 2008-2017, the median annual household income of black residents moving into the Bay Area was approximately 42% higher than that of black residents moving out of the Bay Area, according to Issi Romem, founder and director of \u003ca href=\"https://www.metrosight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MetroSight\u003c/a>, a consulting firm which provides research and analysis into city data.\u003c/p>\n\u003cp>Meanwhile, over that same 10-year period, the Bay Area had more black residents leave (about 149,000) than arrive (about 109,000).\u003c/p>\n\u003cp>In other words, there’s more black folks going than coming. And those who are coming to the Bay Area have deeper pockets.\u003c/p>\n\u003cp>What can be done?\u003c/p>\n\u003cp>I in no way think homelessness is a byproduct of AfroTech. Nor is it the immediate responsibility of the attendees. But there’s a clear opportunity for something to be done, something that bridges the overwhelming amount of unsheltered black folks on the streets of the Bay Area and African Americans in tech—an industry that’s exacerbated the cost of living in the Bay Area, and one of the many driving forces, along with lack of government oversight and greedy developers, pushing gentrification in this region.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>People in the Bay Area are working every day to solve this problem. Hopefully before next year’s AfroTech, something significant can be done. Because bruh, I don’t recall seeing any unsheltered folks being stepped over in Wakanda.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been two weeks since AfroTech has come and gone in Oakland, and I’m still hearing things about it—some good, and some not so good.\u003c/p>\n\u003cp>In fact, on \u003ca href=\"https://www.facebook.com/events/571621730266616/\">Thursday, Nov. 21\u003c/a>, The Town Experience hosts an open forum from 5:30pm–7:30pm at the Uptown in Oakland for people to share their experiences. Charlese Banks of The Town Experience is the lead organizer of the upcoming forum, which AfroTech management says they’ll use to inform next year’s conference.\u003c/p>\n\u003cp>“The demand for something like this was high,” says Banks. “So we’re going to have a constructive feedback session.”\u003c/p>\n\u003cp>That’s good, because for the past few days, the conversation has been living rent-free inside of my head.\u003c/p>\n\u003cp>The conference, which aims to connect the black community with the tech industry, was a beautiful gathering with thousands of people in attendance. \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/He-s-working-to-diversify-the-tech-industry-14833097.php\" target=\"_blank\" rel=\"noopener noreferrer\">Students from local schools\u003c/a> were represented, Congresswoman Barbara Lee was honored for her work and \u003ca href=\"https://www.kqed.org/forum/2010101874437/bernard-tyson-ceo-of-kaiser-permanente-dies-at-60\" target=\"_blank\" rel=\"noopener noreferrer\">Bernard J. Tyson\u003c/a>, the first African American chief executive officer of Kaiser Permanente, spoke just hours before he passed in his sleep.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the streets just outside of the conference, brown-skinned women in yellow blazers with long curly locs walked past dark-skinned men in collard shirts with deep waves. I hadn’t seen that many black folks concentrated at one spot in Oakland since \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\">BBQ’n While Black\u003c/a>. Walking around at night, I saw groups of black folks trickling into a private event at Plank in Jack London Square, packed house-party-style inside of Miss Ollies in Old Oakland and circled-up at the bar inside of 7th West.\u003c/p>\n\u003cfigure id=\"attachment_13870003\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg\" alt=\"At the West Oakland Youth Center, young people making video games with assistance from the Hidden Genius Project and The David Glover Digital Technology Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EI0N485U8AAf6cZ.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the West Oakland Youth Center, young people making video games with assistance from the The Hidden Genius Project and The David Glover Digital Technology Center. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Thursday, before the official start of the conference, I stopped by the West Oakland Youth Center, where folks from the \u003ca href=\"https://www.degetc.org/\">David Glover Emerging Technology Center\u003c/a> and \u003ca href=\"http://www.hiddengeniusproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Hidden Genius Project\u003c/a> had teamed up with the\u003ca href=\"https://www.fam1stfamilyfoundation.org/\"> Fam1st Family Foundation\u003c/a> to hold a coding workshop for a bouncy group of preteen boys and girls, all of them African American.\u003c/p>\n\u003cp>“We’re here doing this all the time,” said Akeem Brown, Program Director with The Hidden Genius Project. They meet there regularly, every Tuesday and Thursday, AfroTech or not.\u003c/p>\n\u003cp>It was like a sitcom the way he finished his sentence and not even a minute later, a guy named Tony walked in the youth center—black luggage bag on wheels in tow—fresh off the airplane from Los Angeles. He said he was in town for the conference, and wanted to apply for a job with The Hidden Genius Project.\u003c/p>\n\u003cp>And so the conference was a job fair, technical workshop and family reunion all in one. As The Hidden Genius Project’s Executive Director Brandon Nicholson told me, “It’s just like Howard Homecoming.”\u003c/p>\n\u003cp>I could see that.\u003c/p>\n\u003cp>The black working class and middle class, coming together to strive for further upward mobility and simultaneously celebrate black excellence… all while some disenfranchised locals feel overlooked. That’s how it was when I was at Howard University. That’s how some felt about AfroTech.\u003c/p>\n\u003cp>Despite the free community stage and open workshops, it was the closed sessions, private clubs and $450 conference ticket price that left a number of people feeling like it wasn’t for them.\u003c/p>\n\u003cp>A few people told me in person, while others left comments on chat boards. And then there was this thread attached to\u003ca href=\"https://twitter.com/OGpenn/status/1192926822771478528?s=20\" target=\"_blank\" rel=\"noopener noreferrer\"> a tweet\u003c/a> I posted during the conference.\u003c/p>\n\u003cp>Right before I left AfroTech in Old Oakland on Friday, I talked to a guy named Ron, an unsheltered guy who lives on the corner of Eighth & Clay Streets with his partner. I simply asked him if he’d seen any changes in the way he’s been treated this weekend, given there was a conference celebrating black excellence in the extremely lucrative field of technology, right there in his backyard. “Na, they step over me just like everyone else,” Ron told me.\u003c/p>\n\u003cp>I tweeted the interaction out. It ruffled a few feathers, for better or worse.\u003c/p>\n\u003cfigure id=\"attachment_13870017\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870017\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png\" alt=\"A sound response. \" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-800x570.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-160x114.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-768x547.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM-1020x726.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Screen-Shot-2019-11-18-at-12.58.43-PM.png 1194w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sound response.\u003c/figcaption>\u003c/figure>\n\u003cp>It wasn’t a shot at AfroTech, or even a commentary on the attendees. It was just an observation; a note about the conflicting juxtaposition I’d just witnessed.\u003c/p>\n\u003cp>I mean, on one hand, you’ve got people talking about how \u003ca href=\"https://twitter.com/awholecatfish/status/1192915445801635840?s=20\">AfroTech had downtown Oakland looking like Wakanda\u003c/a>.\u003c/p>\n\u003cp>And on the other hand, here’s Ron, a homeless African American man. In a place where \u003ca href=\"https://www.oaklandhomelessresponse.com/the-problem\" target=\"_blank\" rel=\"noopener noreferrer\">70% of the unsheltered people are African American\u003c/a>. A place that’s currently going through a homeless crisis that the \u003ca href=\"https://www.kqed.org/news/11700750/after-scathing-un-report-on-homelessness-advocates-demand-oakland-stop-sidewalk-sweeps\">United Nations\u003c/a> has called “cruel and inhuman.”\u003c/p>\n\u003cp>A place where, literally as AfroTech was going on, a group of unsheltered people were \u003ca href=\"https://www.sfchronicle.com/bayarea/otisrtaylorjr/article/Longtime-Oakland-residents-now-homeless-14815555.php\">evicted from an encampment\u003c/a>—many of them African American Oakland natives.\u003c/p>\n\u003cp>And days later, as I type this, Dominique Walker and Sameerah Karim, two African American mothers associated with the group \u003ca href=\"https://twitter.com/moms4housing\" target=\"_blank\" rel=\"noopener noreferrer\">Moms 4 Housing\u003c/a>, have commandeered a vacant house in West Oakland that was foreclosed on and then purchased by \u003ca href=\"https://protect-us.mimecast.com/s/qw-mCADmygF91V0nh8YBoy?domain=wedgewood-inc.com\" target=\"_blank\" rel=\"noopener noreferrer\">Wedgewood Properties.\u003c/a>\u003c/p>\n\u003cp>It’s drastic times in the town right now when it comes to black folks and housing. And I can’t stop thinking about it. Reading about it. Researching.\u003c/p>\n\u003cp>A further illustration of the point about race and class: between 2008-2017, the median annual household income of black residents moving into the Bay Area was approximately 42% higher than that of black residents moving out of the Bay Area, according to Issi Romem, founder and director of \u003ca href=\"https://www.metrosight.com/\" target=\"_blank\" rel=\"noopener noreferrer\">MetroSight\u003c/a>, a consulting firm which provides research and analysis into city data.\u003c/p>\n\u003cp>Meanwhile, over that same 10-year period, the Bay Area had more black residents leave (about 149,000) than arrive (about 109,000).\u003c/p>\n\u003cp>In other words, there’s more black folks going than coming. And those who are coming to the Bay Area have deeper pockets.\u003c/p>\n\u003cp>What can be done?\u003c/p>\n\u003cp>I in no way think homelessness is a byproduct of AfroTech. Nor is it the immediate responsibility of the attendees. But there’s a clear opportunity for something to be done, something that bridges the overwhelming amount of unsheltered black folks on the streets of the Bay Area and African Americans in tech—an industry that’s exacerbated the cost of living in the Bay Area, and one of the many driving forces, along with lack of government oversight and greedy developers, pushing gentrification in this region.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>People in the Bay Area are working every day to solve this problem. Hopefully before next year’s AfroTech, something significant can be done. Because bruh, I don’t recall seeing any unsheltered folks being stepped over in Wakanda.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Flight Deck, Oakland’s Only Black Box Theater, to Close in March",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Ragged Wing Ensemble announced Tuesday that \u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a>, Oakland’s only shared black-box theater, will close early next year in a serious loss for the East Bay’s performing arts landscape. \u003c/span>\u003c/p>\n\u003cp>Anna Shneiderman, co-founder and executive director of \u003ca href=\"https://www.raggedwing.org/\">Ragged Wing Ensemble\u003c/a>, stood in the 99-seat theater at 1540 Broadway in downtown Oakland, a venue used for performance, rehearsal and administration by 70 artists and organizations annually, and described the building seven years ago. “The roof was caving in,” she said. “You could see through this floor to the dirt underneath.” [aside postID=arts_13861153,arts_13866354,arts_13850988]\u003c/p>\n\u003cp>Shneiderman, who’d run Ragged Wing as a nomadic theater troupe with artistic director Amy Sass since 2004, raised $300,000 to create a 4,000-square-foot performing-arts hub within the dilapidated warehouse, immediately attracting resident companies such as \u003ca href=\"http://www.lowerbottomplayaz.com/\">Lower Bottom Playaz\u003c/a>. “With no marketing, people were banging on the door,” she said. Flight Deck, which Ragged Wing operates, is now booked 50 weeks a year, and since 2014 has quintupled its budget to more than $500,000.\u003c/p>\n\u003cp>Yet Flight Deck’s critical role in the East Bay theater community belies Ragged Wing’s financial insecurity. Facilities costs are double the rental revenue, Shneiderman said, and ticket prices similarly lag behind production expenses. Ragged Wing raises the shortfall, but even with key institutional support, its several part-time employees remain underpaid and without benefits. With its five-year lease set to lapse, Shneiderman sees little more room to grow.\u003c/p>\n\u003cp>“The looming lease renewal prompted some soul-searching,” she said. “Is this sustainable?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Flight Deck will close following a “\u003ca href=\"http://www.theflightdeck.org/the-art-of-leaving.html\">ceremonial exit\u003c/a>” program March 29, 2020 entitled \u003cem>The Art of Leaving\u003c/em>. Ragged Wing, like Ayodele Nzinga’s troupe Lower Bottom Playaz, will resume a nomadic existence; an Oakland beacon and resource to dozens of artists will go dark. Shneiderman wants another entity to take over the lease, but Flight Deck as it’s known is done.\u003c/p>\n\u003cp>“Ragged Wing started Flight Deck because there was nowhere to stage a play in downtown Oakland,” she said. “Unless someone takes over our lease, it could be that way again.”\u003c/p>\n\u003cp>In either case, Shneiderman now believes the nonprofit arts system is broken beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_13870008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg\" alt=\"Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga founded Lower Bottom Playaz, an original Flight Deck resident, 20 years ago to produce original works and canonical black theater. It’s known for staging all of \u003cem>Century Cycle\u003c/em>, August Wilson’s epic exploration of the African-American experience, and in September premiered one-woman plays by Nzinga, Cat Brooks and Kharyshi Wiginton. Nzinga is also an activist who helps run a new \u003ca href=\"https://www.ccedoakland.org/\">anti-displacement fund\u003c/a>, and one day recently she sat in Flight Deck’s gallery distributing checks. “It feels fantastic,” she said, smiling to note the ironic timing and setting.\u003c/p>\n\u003cp>Theater in Oakland faces challenges besides the lack of venues. San Francisco companies tend to charge more at the door, and city government exponentially outspends Oakland in art grants; in Oakland’s most recent budget process, arts funding \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">even dipped\u003c/a>. Berkeley has several venues with resident companies supported by a wealthier, better-established audience. “We’re courting a different demographic,” Nzinga said. “We have a pricing scale, and we pass a hat at the end of each show—the joke is you have to pay at the door and then pay to leave.”\u003c/p>\n\u003cp>Flight Deck’s monthly overhead, according to Shneiderman, is $20,000-$25,000. Rental rates, though subsidized by fundraising, make it difficult to fairly compensate performers while offering affordable tickets. TheatreFIRST, at Berkeley’s Live Oak Theater, this year replaced stipends with an hourly rate. Ragged Wing is instituting a similar policy in order to “prioritize people over space,” Shneiderman said. “Why commit all this money to rent and not pay our people right?”\u003c/p>\n\u003cp>For companies such as Ragged Wing and Lower Bottom Playaz, reducing overhead is necessary to offer a living wage. Gritty City Repertory Youth Theatre, a former resident company at Flight Deck, earlier this year moved its office and rehearsal space to the Flax Building, where Ubuntu Theater Project also operates. Nzinga similarly foresees a roving future—anchored in Oakland, performing in surrounding cities—for Lower Bottom Playaz.\u003c/p>\n\u003cp>“Maybe we need to be nimble enough again to perform in homeless shelters and halfway houses like when we started out, or outdoors in Frank Ogawa Plaza,” Nzinga said.\u003c/p>\n\u003cfigure id=\"attachment_13870009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg\" alt=\"Props and posters rest in Flight Deck's office mezzanine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Props and posters rest in Flight Deck’s office mezzanine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month Shneiderman spoke at a “social impact” business conference in Berkeley about “endemic problems in the nonprofit arts sector,” describing the struggles of Flight Deck and Ragged Wing as systemic problems of an industry beholden to philanthropic largesse.\u003c/p>\n\u003cp>Institutional funders want to support projects with marquee visibility instead of humdrum operating costs, and wages for staff suffer, she explained. Organizations compete against each other for grants, yielding programming tailored to the vision of a few private foundations. Nonprofits with too little or too much money alienate funders, discouraging growth. And few audience members realize this constant hustle effectively subsidizes the price of their tickets.\u003c/p>\n\u003cp>Part of the problem is the city’s cost-of-living outpacing public and private arts funding. Another is development: Cranes and new luxury housing in downtown Oakland make the neighborhood’s art spaces look like placeholders. Highbridge Capital Management, a hedge fund subsidiary of JPMorgan Chase, bought the Flight Deck building two years ago as part of a rush on commercial real-estate in the area. It’s the only single-story structure on the block.\u003c/p>\n\u003cfigure id=\"attachment_13870010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg\" alt=\"Posters for past productions hang framed in the Flight Deck hallway.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters for past productions hang framed in the Flight Deck hallway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even an abundance of grants and a longer-term lease on friendly terms wouldn’t address the underlying issue, Shneiderman believes. Relying on wealthy individual donors bends programming to a narrow demographic. “It begs the question of who’s being served,” she said. The arts nonprofit system entrenches instead of disperses social and economic standing, and donors receive tax advantages and burnished names without “rebalancing wealth or power in any significant way,” Shneiderman said, calling the model a form of “extractive capitalism.”\u003c/p>\n\u003cp>For Shneiderman, this critique is the prelude to a pitch for what she’s calling the “Oakland Cultural Space Cooperative,” a network of extant spaces for rehearsal and performance with a centralized booking portal. She’s preparing to begin a year-long design process—supported by local and state philanthropies—in collaboration with several other organizations. “We want it to also have a pathway to ownership,” she added.\u003c/p>\n\u003cp>Before then, Ragged Wing Ensemble will present \u003cem>The Art of Leaving\u003c/em>, its final program at Flight Deck, on March 29, 2020. Shneiderman describes it as a “multi-layered, participatory project” to gather thoughts on leaving from attendees, celebrate resiliency and culminate with a raucous march along Broadway. Like Nzinga with Lower Bottom Playaz, Shneiderman anticipates Ragged Wing returning to presenting compact, tourable productions in nontraditional venues such as homes and outdoor spaces.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s sad,” she said. “But it’s precipitating something new.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Ragged Wing Ensemble announced Tuesday that \u003ca href=\"http://www.theflightdeck.org/\">Flight Deck\u003c/a>, Oakland’s only shared black-box theater, will close early next year in a serious loss for the East Bay’s performing arts landscape. \u003c/span>\u003c/p>\n\u003cp>Anna Shneiderman, co-founder and executive director of \u003ca href=\"https://www.raggedwing.org/\">Ragged Wing Ensemble\u003c/a>, stood in the 99-seat theater at 1540 Broadway in downtown Oakland, a venue used for performance, rehearsal and administration by 70 artists and organizations annually, and described the building seven years ago. “The roof was caving in,” she said. “You could see through this floor to the dirt underneath.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shneiderman, who’d run Ragged Wing as a nomadic theater troupe with artistic director Amy Sass since 2004, raised $300,000 to create a 4,000-square-foot performing-arts hub within the dilapidated warehouse, immediately attracting resident companies such as \u003ca href=\"http://www.lowerbottomplayaz.com/\">Lower Bottom Playaz\u003c/a>. “With no marketing, people were banging on the door,” she said. Flight Deck, which Ragged Wing operates, is now booked 50 weeks a year, and since 2014 has quintupled its budget to more than $500,000.\u003c/p>\n\u003cp>Yet Flight Deck’s critical role in the East Bay theater community belies Ragged Wing’s financial insecurity. Facilities costs are double the rental revenue, Shneiderman said, and ticket prices similarly lag behind production expenses. Ragged Wing raises the shortfall, but even with key institutional support, its several part-time employees remain underpaid and without benefits. With its five-year lease set to lapse, Shneiderman sees little more room to grow.\u003c/p>\n\u003cp>“The looming lease renewal prompted some soul-searching,” she said. “Is this sustainable?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Flight Deck will close following a “\u003ca href=\"http://www.theflightdeck.org/the-art-of-leaving.html\">ceremonial exit\u003c/a>” program March 29, 2020 entitled \u003cem>The Art of Leaving\u003c/em>. Ragged Wing, like Ayodele Nzinga’s troupe Lower Bottom Playaz, will resume a nomadic existence; an Oakland beacon and resource to dozens of artists will go dark. Shneiderman wants another entity to take over the lease, but Flight Deck as it’s known is done.\u003c/p>\n\u003cp>“Ragged Wing started Flight Deck because there was nowhere to stage a play in downtown Oakland,” she said. “Unless someone takes over our lease, it could be that way again.”\u003c/p>\n\u003cp>In either case, Shneiderman now believes the nonprofit arts system is broken beyond repair.\u003c/p>\n\u003cfigure id=\"attachment_13870008\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870008\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg\" alt=\"Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Ayodele-Nzinga-Alone-Seated-Frowning.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ayodele Nzinga, seated, is an artist and activist who runs Flight Deck resident company Lower Bottom Playaz. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nzinga founded Lower Bottom Playaz, an original Flight Deck resident, 20 years ago to produce original works and canonical black theater. It’s known for staging all of \u003cem>Century Cycle\u003c/em>, August Wilson’s epic exploration of the African-American experience, and in September premiered one-woman plays by Nzinga, Cat Brooks and Kharyshi Wiginton. Nzinga is also an activist who helps run a new \u003ca href=\"https://www.ccedoakland.org/\">anti-displacement fund\u003c/a>, and one day recently she sat in Flight Deck’s gallery distributing checks. “It feels fantastic,” she said, smiling to note the ironic timing and setting.\u003c/p>\n\u003cp>Theater in Oakland faces challenges besides the lack of venues. San Francisco companies tend to charge more at the door, and city government exponentially outspends Oakland in art grants; in Oakland’s most recent budget process, arts funding \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">even dipped\u003c/a>. Berkeley has several venues with resident companies supported by a wealthier, better-established audience. “We’re courting a different demographic,” Nzinga said. “We have a pricing scale, and we pass a hat at the end of each show—the joke is you have to pay at the door and then pay to leave.”\u003c/p>\n\u003cp>Flight Deck’s monthly overhead, according to Shneiderman, is $20,000-$25,000. Rental rates, though subsidized by fundraising, make it difficult to fairly compensate performers while offering affordable tickets. TheatreFIRST, at Berkeley’s Live Oak Theater, this year replaced stipends with an hourly rate. Ragged Wing is instituting a similar policy in order to “prioritize people over space,” Shneiderman said. “Why commit all this money to rent and not pay our people right?”\u003c/p>\n\u003cp>For companies such as Ragged Wing and Lower Bottom Playaz, reducing overhead is necessary to offer a living wage. Gritty City Repertory Youth Theatre, a former resident company at Flight Deck, earlier this year moved its office and rehearsal space to the Flax Building, where Ubuntu Theater Project also operates. Nzinga similarly foresees a roving future—anchored in Oakland, performing in surrounding cities—for Lower Bottom Playaz.\u003c/p>\n\u003cp>“Maybe we need to be nimble enough again to perform in homeless shelters and halfway houses like when we started out, or outdoors in Frank Ogawa Plaza,” Nzinga said.\u003c/p>\n\u003cfigure id=\"attachment_13870009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg\" alt=\"Props and posters rest in Flight Deck's office mezzanine.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Workspace-in-Flight-Deck-office.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Props and posters rest in Flight Deck’s office mezzanine. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Earlier this month Shneiderman spoke at a “social impact” business conference in Berkeley about “endemic problems in the nonprofit arts sector,” describing the struggles of Flight Deck and Ragged Wing as systemic problems of an industry beholden to philanthropic largesse.\u003c/p>\n\u003cp>Institutional funders want to support projects with marquee visibility instead of humdrum operating costs, and wages for staff suffer, she explained. Organizations compete against each other for grants, yielding programming tailored to the vision of a few private foundations. Nonprofits with too little or too much money alienate funders, discouraging growth. And few audience members realize this constant hustle effectively subsidizes the price of their tickets.\u003c/p>\n\u003cp>Part of the problem is the city’s cost-of-living outpacing public and private arts funding. Another is development: Cranes and new luxury housing in downtown Oakland make the neighborhood’s art spaces look like placeholders. Highbridge Capital Management, a hedge fund subsidiary of JPMorgan Chase, bought the Flight Deck building two years ago as part of a rush on commercial real-estate in the area. It’s the only single-story structure on the block.\u003c/p>\n\u003cfigure id=\"attachment_13870010\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg\" alt=\"Posters for past productions hang framed in the Flight Deck hallway.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Play-posters-in-hallway-flight-deck.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Posters for past productions hang framed in the Flight Deck hallway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But even an abundance of grants and a longer-term lease on friendly terms wouldn’t address the underlying issue, Shneiderman believes. Relying on wealthy individual donors bends programming to a narrow demographic. “It begs the question of who’s being served,” she said. The arts nonprofit system entrenches instead of disperses social and economic standing, and donors receive tax advantages and burnished names without “rebalancing wealth or power in any significant way,” Shneiderman said, calling the model a form of “extractive capitalism.”\u003c/p>\n\u003cp>For Shneiderman, this critique is the prelude to a pitch for what she’s calling the “Oakland Cultural Space Cooperative,” a network of extant spaces for rehearsal and performance with a centralized booking portal. She’s preparing to begin a year-long design process—supported by local and state philanthropies—in collaboration with several other organizations. “We want it to also have a pathway to ownership,” she added.\u003c/p>\n\u003cp>Before then, Ragged Wing Ensemble will present \u003cem>The Art of Leaving\u003c/em>, its final program at Flight Deck, on March 29, 2020. Shneiderman describes it as a “multi-layered, participatory project” to gather thoughts on leaving from attendees, celebrate resiliency and culminate with a raucous march along Broadway. Like Nzinga with Lower Bottom Playaz, Shneiderman anticipates Ragged Wing returning to presenting compact, tourable productions in nontraditional venues such as homes and outdoor spaces.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s sad,” she said. “But it’s precipitating something new.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Jamie Facciola is an avid documentarian of discarded furniture on the streets of Oakland. Lucky for her, there’s a lot to cover. According to a study on the City of Oakland’s website, \u003c/span>\u003ca href=\"http://www2.oaklandnet.com/government/o/PWA/o/FE/s/IDR/index.htm\">\u003cspan style=\"font-weight: 400\">illegal dumping in Oakland increased by 100% from 2012–2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I, like many people, walk past discarded furniture all the time and pay it no mind. But not Jamie. She walks her dog, Lucy, around their North Oakland neighborhood almost daily– taking pictures of discarded furniture and posting them to \u003c/span>\u003ca href=\"https://www.instagram.com/jamifacci/\">\u003cspan style=\"font-weight: 400\">her Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When she initially told me about the project, I was like, “Meh… doesn’t seem too engaging.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then she noted the cycle of people moving in and out of the Bay Area, many of whom move in a haste and nonchalantly discard furniture, just to turn around and buy new furniture. She told me people not reusing perfectly good furniture is one of the many things contributing to deforestation, \u003c/span>\u003cspan style=\"font-weight: 400\">and ultimately global warming. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now that I know about her project, I can’t stop seeing old furniture and thinking about the environmental impact. After listening to her story, you’ll see it too. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-800x533.jpg\" alt=\"Jamie Facciola takes photos of discarded furniture on the streets of Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Facciola takes photos of discarded furniture on the streets of Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on Aug 9, 2019.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Jamie Facciola is an avid documentarian of discarded furniture on the streets of Oakland. Lucky for her, there’s a lot to cover. According to a study on the City of Oakland’s website, \u003c/span>\u003ca href=\"http://www2.oaklandnet.com/government/o/PWA/o/FE/s/IDR/index.htm\">\u003cspan style=\"font-weight: 400\">illegal dumping in Oakland increased by 100% from 2012–2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I, like many people, walk past discarded furniture all the time and pay it no mind. But not Jamie. She walks her dog, Lucy, around their North Oakland neighborhood almost daily– taking pictures of discarded furniture and posting them to \u003c/span>\u003ca href=\"https://www.instagram.com/jamifacci/\">\u003cspan style=\"font-weight: 400\">her Instagram\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When she initially told me about the project, I was like, “Meh… doesn’t seem too engaging.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And then she noted the cycle of people moving in and out of the Bay Area, many of whom move in a haste and nonchalantly discard furniture, just to turn around and buy new furniture. She told me people not reusing perfectly good furniture is one of the many things contributing to deforestation, \u003c/span>\u003cspan style=\"font-weight: 400\">and ultimately global warming. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now that I know about her project, I can’t stop seeing old furniture and thinking about the environmental impact. After listening to her story, you’ll see it too. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13863536\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863536\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-800x533.jpg\" alt=\"Jamie Facciola takes photos of discarded furniture on the streets of Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Jamie.Righnowish.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamie Facciola takes photos of discarded furniture on the streets of Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>A shorter version of this episode was first broadcast on Aug 9, 2019.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Pharoah Sanders, Inimitable Jazz Saxophonist, Plays Yoshi’s in Oakland",
"headTitle": "Pharoah Sanders, Inimitable Jazz Saxophonist, Plays Yoshi’s in Oakland | KQED",
"content": "\u003cp>Pharoah Sanders is immediately recognizable for his viscerally abrasive, ever-searching style of tenor saxophone, an inimitable voice honed in the Sun Ra Arkestra and John Coltrane ensembles before leading his own groups. Born Ferrell Sanders in Little Rock, Arkansas, he worked briefly in Oakland before moving to New York and supporting Coltrane during his avant-garde period epitomized by \u003cem>Ascension\u003c/em>. As a bandleader in the late 1960s, Sanders continued exploring free and spiritual jazz on a staggering run of albums for the Impulse! label, by turns intoning peace with wounded lyricism and reveling in explosive, anguished intensity. Sanders last played the Bay Area in 2017, part of a program recognizing Coltrane, and returns with the same collaborators—pianist William Henderson, bassist Nat Reeves and drummer Johnathan Blake—for two sets a night Friday and Saturday, Nov. 29-30 at Yoshi’s in Oakland. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Tourism in Oakland isn’t new. Hell, even in the 1800s, when colonizers settled in the Bay and built San Francisco into a world-class city, Oakland was the other coast—or “contra costa”—where wealthy folks would buy summer vacation homes to get away from the big city.\u003c/p>\n\u003cp>Nearly 200 years later, tourism in Oakland is still a thing. According to \u003ca href=\"https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/oakland/vo_annual_report_v14web_8c3853f1-5a7f-47d4-af9c-dce272897864.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Visit Oakland’s 2018 Annual Report\u003c/a>, an estimated 3.8 million people visited Oakland in 2017, bringing $668 million along with them (a 6.5% increase from the previous year). Oakland has been mentioned as a top tourism destination in the \u003cem>New York Times\u003c/em>, \u003cem>Essence\u003c/em> and, most recently, \u003ca href=\"https://travelnoire.com/48-hours-black-owned-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">this Travel Noire piece\u003c/a> about spending 48 hours in black-owned Oakland.\u003c/p>\n\u003cp>This Thursday through Saturday, when Oakland hosts this year’s AfroTech conference, thousands of new people will become part of that history of tourism in Oakland.\u003c/p>\n\u003cp>The conference is one of the biggest tech happenings in the United States. You might’ve heard of it—if for nothing else, its mention by Jay-Z in the song “Legacy”:\u003c/p>\n\u003cblockquote>\u003cp>We gon’ start a society within a society\u003cbr>\nThat’s major, just like the Negro League\u003cbr>\nThere was a time America wouldn’t let us ball\u003cbr>\nThose times are now back, just now called AfroTech\u003c/p>\u003c/blockquote>\n\u003cp>This event or, um, “society within a society,” started in 2014. This year will be the first of two scheduled years for it to take place in Oakland. And in 2019, it’s set to be one of the largest conferences to happen in the town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Oakland is a natural choice—in the heart of Silicon Valley, but often overlooked,” says Morgan DeBaun, founder of Blavity Inc., which produces AfroTech.\u003c/p>\n\u003cp>The aim of the conference is twofold: one, to create opportunities for black folks in the tech industry. Secondly, DeBaun adds, to “create spaces for the tech industry to get access to black talent.”\u003c/p>\n\u003cp>The conversation about diversity and the tech pipeline isn’t new. Just last month \u003ca href=\"https://www.wired.com/story/five-years-tech-diversity-reports-little-progress/\" target=\"_blank\" rel=\"noopener noreferrer\">Wired\u003c/a> noted that while a few big-name tech companies—Facebook, Apple, Google, Amazon and Microsoft—have been transparent about their diversity numbers for the past five years, still, virtually nothing has changed.\u003c/p>\n\u003cp>But folks like DeBaun believe that the narrative about a lack of access is inaccurate. “People aren’t looking in the right places,” she says. “AfroTech is breaking down those barriers.”\u003c/p>\n\u003cp>Over the three-day span, events will take place all around Oakland’s downtown area, from the Marriott Convention Center to Jack London Square, and what some folks refer to as the Uptown neighborhood; \u003ca href=\"https://experience.afrotech.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a full list of happenings\u003c/a>.\u003c/p>\n\u003cp>One event this weekend that’s not on that list is \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Gameday ’19\u003c/a>, at the Esports Arena on Saturday night. It features a who’s-who of local stars—E-40, Mistah FAB, Ryan Nicole and more—not only speaking on panels, but squaring off against a bunch of young folks in a video game battle royale.\u003c/p>\n\u003cp>Gameday ’19 isn’t an official AfroTech event, although it’s happening during AfroTech. Instead, it’s put on by \u003ca href=\"https://thetownexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, a slate of events that include happy hours, speaker panels and more.\u003c/p>\n\u003cfigure id=\"attachment_13869422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg\" alt=\"Charlese Banks\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-889x1200.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0.jpg 987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlese Banks (Photo: Jeff “Silence” Arthur) \u003ccite>(Jeff \"Silence\" Arthur )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Town Experience is founded and run by Charlese Banks, who wants to add some flavor to Oakland’s growing tourism industry.\u003c/p>\n\u003cp>“The idea was to give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says Banks. (She was mindful to “do this in a way that’s not competing with each other,” scheduling events on the frontend and backend of AfroTech.)\u003c/p>\n\u003cp>In theory, Banks’ idea is a way of combating the gentrifying force that’s inherently intertwined with the tourism industry. People want to visit Oakland? Ok, well, they can spend their dollars in businesses owned and operated by folks actually from the community, and who are invested in the future of the town. Part of that means putting special decals in the windows of businesses like Spice Monkey and Dope Era to give shine to locally owned and operated shops.\u003c/p>\n\u003cp>“I was inspired by the fact that [AfroTech] announced they were coming to Oakland, and figured that as a community, we should have some say on what that looks like,” says Banks. “AfroTech is a predominantly black event, and they’re coming to a city that is in line with that.”\u003c/p>\n\u003cp>Banks, a San Jose native who’s called Oakland home for over six years, tells me this is a model for things to come. “The idea was inspired by this weekend, but I spoke to the tourism department and realized it’s something bigger. Seems like the time is right,” Banks says.\u003c/p>\n\u003cp>The time \u003cem>is\u003c/em> right: last year in the United States, \u003ca href=\"https://www.globenewswire.com/news-release/2018/12/20/1670310/0/en/African-American-Travel-Represents-63-Billion-Opportunity.html\" target=\"_blank\" rel=\"noopener noreferrer\">African Americans reportedly spent $63 billion on tourism\u003c/a>. And in Oakland, where black businesses are going the way of its rapidly depleting black population, it’s now or never when it comes to putting the black dollar where it’s needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re an event space and tourism guide for black and brown folks in Oakland,” says Banks. “Think: how would people use \u003ca href=\"https://www.smithsonianmag.com/arts-culture/true-story-green-book-movie-180970728/\" target=\"_blank\" rel=\"noopener noreferrer\">the Green Book\u003c/a> as a tool in Oakland?”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tourism in Oakland isn’t new. Hell, even in the 1800s, when colonizers settled in the Bay and built San Francisco into a world-class city, Oakland was the other coast—or “contra costa”—where wealthy folks would buy summer vacation homes to get away from the big city.\u003c/p>\n\u003cp>Nearly 200 years later, tourism in Oakland is still a thing. According to \u003ca href=\"https://assets.simpleviewinc.com/simpleview/image/upload/v1/clients/oakland/vo_annual_report_v14web_8c3853f1-5a7f-47d4-af9c-dce272897864.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Visit Oakland’s 2018 Annual Report\u003c/a>, an estimated 3.8 million people visited Oakland in 2017, bringing $668 million along with them (a 6.5% increase from the previous year). Oakland has been mentioned as a top tourism destination in the \u003cem>New York Times\u003c/em>, \u003cem>Essence\u003c/em> and, most recently, \u003ca href=\"https://travelnoire.com/48-hours-black-owned-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">this Travel Noire piece\u003c/a> about spending 48 hours in black-owned Oakland.\u003c/p>\n\u003cp>This Thursday through Saturday, when Oakland hosts this year’s AfroTech conference, thousands of new people will become part of that history of tourism in Oakland.\u003c/p>\n\u003cp>The conference is one of the biggest tech happenings in the United States. You might’ve heard of it—if for nothing else, its mention by Jay-Z in the song “Legacy”:\u003c/p>\n\u003cblockquote>\u003cp>We gon’ start a society within a society\u003cbr>\nThat’s major, just like the Negro League\u003cbr>\nThere was a time America wouldn’t let us ball\u003cbr>\nThose times are now back, just now called AfroTech\u003c/p>\u003c/blockquote>\n\u003cp>This event or, um, “society within a society,” started in 2014. This year will be the first of two scheduled years for it to take place in Oakland. And in 2019, it’s set to be one of the largest conferences to happen in the town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Oakland is a natural choice—in the heart of Silicon Valley, but often overlooked,” says Morgan DeBaun, founder of Blavity Inc., which produces AfroTech.\u003c/p>\n\u003cp>The aim of the conference is twofold: one, to create opportunities for black folks in the tech industry. Secondly, DeBaun adds, to “create spaces for the tech industry to get access to black talent.”\u003c/p>\n\u003cp>The conversation about diversity and the tech pipeline isn’t new. Just last month \u003ca href=\"https://www.wired.com/story/five-years-tech-diversity-reports-little-progress/\" target=\"_blank\" rel=\"noopener noreferrer\">Wired\u003c/a> noted that while a few big-name tech companies—Facebook, Apple, Google, Amazon and Microsoft—have been transparent about their diversity numbers for the past five years, still, virtually nothing has changed.\u003c/p>\n\u003cp>But folks like DeBaun believe that the narrative about a lack of access is inaccurate. “People aren’t looking in the right places,” she says. “AfroTech is breaking down those barriers.”\u003c/p>\n\u003cp>Over the three-day span, events will take place all around Oakland’s downtown area, from the Marriott Convention Center to Jack London Square, and what some folks refer to as the Uptown neighborhood; \u003ca href=\"https://experience.afrotech.com/schedule/\" target=\"_blank\" rel=\"noopener noreferrer\">here’s a full list of happenings\u003c/a>.\u003c/p>\n\u003cp>One event this weekend that’s not on that list is \u003ca href=\"https://thetownexperience.com/product/game-fest-19/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Gameday ’19\u003c/a>, at the Esports Arena on Saturday night. It features a who’s-who of local stars—E-40, Mistah FAB, Ryan Nicole and more—not only speaking on panels, but squaring off against a bunch of young folks in a video game battle royale.\u003c/p>\n\u003cp>Gameday ’19 isn’t an official AfroTech event, although it’s happening during AfroTech. Instead, it’s put on by \u003ca href=\"https://thetownexperience.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Town Experience\u003c/a>, a slate of events that include happy hours, speaker panels and more.\u003c/p>\n\u003cfigure id=\"attachment_13869422\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869422\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg\" alt=\"Charlese Banks\" width=\"800\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-800x1080.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-768x1036.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0-889x1200.jpg 889w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/0.jpg 987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlese Banks (Photo: Jeff “Silence” Arthur) \u003ccite>(Jeff \"Silence\" Arthur )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Town Experience is founded and run by Charlese Banks, who wants to add some flavor to Oakland’s growing tourism industry.\u003c/p>\n\u003cp>“The idea was to give the conference-goers and travelers an authentic Oakland experience while they’re in town,” says Banks. (She was mindful to “do this in a way that’s not competing with each other,” scheduling events on the frontend and backend of AfroTech.)\u003c/p>\n\u003cp>In theory, Banks’ idea is a way of combating the gentrifying force that’s inherently intertwined with the tourism industry. People want to visit Oakland? Ok, well, they can spend their dollars in businesses owned and operated by folks actually from the community, and who are invested in the future of the town. Part of that means putting special decals in the windows of businesses like Spice Monkey and Dope Era to give shine to locally owned and operated shops.\u003c/p>\n\u003cp>“I was inspired by the fact that [AfroTech] announced they were coming to Oakland, and figured that as a community, we should have some say on what that looks like,” says Banks. “AfroTech is a predominantly black event, and they’re coming to a city that is in line with that.”\u003c/p>\n\u003cp>Banks, a San Jose native who’s called Oakland home for over six years, tells me this is a model for things to come. “The idea was inspired by this weekend, but I spoke to the tourism department and realized it’s something bigger. Seems like the time is right,” Banks says.\u003c/p>\n\u003cp>The time \u003cem>is\u003c/em> right: last year in the United States, \u003ca href=\"https://www.globenewswire.com/news-release/2018/12/20/1670310/0/en/African-American-Travel-Represents-63-Billion-Opportunity.html\" target=\"_blank\" rel=\"noopener noreferrer\">African Americans reportedly spent $63 billion on tourism\u003c/a>. And in Oakland, where black businesses are going the way of its rapidly depleting black population, it’s now or never when it comes to putting the black dollar where it’s needed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re an event space and tourism guide for black and brown folks in Oakland,” says Banks. “Think: how would people use \u003ca href=\"https://www.smithsonianmag.com/arts-culture/true-story-green-book-movie-180970728/\" target=\"_blank\" rel=\"noopener noreferrer\">the Green Book\u003c/a> as a tool in Oakland?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A proposed Museum of Jazz and Art for the current site of a historic, city-owned building near downtown Oakland and Lake Merritt proceeded Tuesday over objections from parklands and public library advocates, indicating more private development of public land around Lake Merritt.\u003c/p>\n\u003cp>Oakland City Council on Tuesday voted to waive a competitive process generally required for leasing or selling city-owned property and begin negotiating with the \u003ca href=\"https://www.moja-us.org/\">Museum of Jazz and Art\u003c/a> (MOJA) team to develop the parcel at 1310 Oak Street, currently the site of a parking lot and the Fire Alarm Building completed in 1911. The design proposal calls for building a three-story education and exhibition center in what’s now the parking lot, and preserving the historic structure.\u003c/p>\n\u003cp>[aside postID=arts_13865204,arts_13861121]\u003c/p>\n\u003cp>The proposed 70,000-square-foot facility including a 400-capacity venue—still in its development infancy—is the longtime dream of Oakland architectural engineer David Allen, but he told KQED it’s too early to detail financing for the estimated $90 million project.\u003c/p>\n\u003cp>The Museum of Jazz and Art previously vied unsuccessfully for sites in downtown Oakland and Jack London Square. The nonprofit organization has reported $170,000 in revenue since 2013, and lists on its board of directors former Pandora Media executive Joe Kennedy. Allen provided letters of support for MOJA from congressperson Barbara Lee and the Tomkat Foundation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>MOJA has provided little information about the proposed museum’s collection and programming. Its website promises musician grants and low-interest loans, tutoring and mentorship, support for existing Oakland youth jazz programs, and a national jazz hall of fame. “The most important thing is the public benefit component,” Allen said, adding that if the Oak Street site falls through he intends to shop the museum in Los Angeles or San Francisco.\u003c/p>\n\u003cp>Supporters say MOJA will provide creative and economic benefits that realize the city’s cultural equity goals, plus anchor the Black Arts Movement and Business District (BAMBD), which has sought greater public investment for years. Councilmember Nikki Fortunato-Bas, who introduced the resolution with colleague Lynette Gibson-McElhaney, called it an opportunity to preserve Oakland’s cultural heritage, and noted her experience mediating tense public benefits negotiations for the Henry J. Kaiser Convention Center development.\u003c/p>\n\u003cp>“What we’re moving forward is the very beginning of a process,” said Fortunato-Bas.\u003c/p>\n\u003cp>BAMBD spokesperson Eric Arnold and several local activists and arts figures including Carroll Fife of Alliance of Californians for Community Empowerment and Leah King of Youth Speaks commented in favor of the project. They said it would redress the injustices of urban renewal, mentioning BART construction destroying West Oakland’s black nightlife corridor.\u003c/p>\n\u003cp>“This would be a giant step, to paraphrase John Coltrane, in implementing the cultural equity called for in the cultural plan,” Arnold said.\u003c/p>\n\u003cp>“Where public land cannot be used for housing, it’s important to use it for cultural preservation,” Fife said. “Preserve the property for the public good.” \u003c/p>\n\u003cfigure id=\"attachment_13869361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/IMG_3844-800x450.gif\" alt=\"The Fire Alarm Building at 1310 Oak Street is currently used by city employees.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-800x450.gif 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-160x90.gif 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-768x432.gif 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1020x574.gif 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1200x675.gif 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1920x1080.gif 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Fire Alarm Building at 1310 Oak Street is currently used by city employees.\u003c/figcaption>\u003c/figure>\n\u003cp>The property consists of approximately one acre in the shadow of the Alameda County Superior Courthouse and the Oakland Public Library Main Branch, with the single-story, 4,500 square foot Fire Alarm Building surrounded by trees, parking and, lately, tents. The structure is used by city employees in various departments, and Lake Chalet restaurant leases some of the parking.\u003c/p>\n\u003cp>Members of the Coalition of Advocates for Lake Merritt (CALM) and supporters of the Oakland Public Library said Tuesday and at an earlier committee hearing that councilmembers are advancing the MOJA proposal prematurely. The Fire Alarm Building has been identified in planning documents as an ideal expansion site for the library’s main branch, and they believe the MOJA negotiations should pause pending the library’s planned feasibility study of the site.\u003c/p>\n\u003cp>“The library could do more, but its main branch is too small and outdated to meet the needs of Oakland’s population,” said retired Oakland librarian Helen Bloch at an Oct. 22 committee hearing. “I ask that, because this is public land, the site be studied for uses that benefit all Oaklanders.”\u003c/p>\n\u003cfigure id=\"attachment_13869363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869363\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/IMG_3850-800x450.gif\" alt=\"The Fire Alarm Building is surrounded by a parking lot, trees and, lately, tents.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-800x450.gif 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-160x90.gif 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-768x432.gif 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1020x574.gif 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1200x675.gif 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1920x1080.gif 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Fire Alarm Building is surrounded by a parking lot, trees and, lately, tents. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CALM member John Klein said the organization previously opposed development on the Oak Street parcel, and suggested other sites for MOJA. The land around the Fire Alarm Building should remain open space, he said, and be better incorporated into the greenbelt surrounding Lake Merritt. “18 years we’ve been looking out for this property,” Klein said. “Here we are again.”\u003c/p>\n\u003cp>James Vann of CALM also argued Tuesday that councilmembers are violating California’s Surplus Land Act, which requires government agencies to prioritize affordable housing when leasing or selling public land, and urged them not to \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2015/07/06/breaking-news-oakland-city-attorney-said-luxury-tower-deal-is-illegal\">repeat\u003c/a> the mistake. Underlying the tension is the city’s delay in creating a promised policy for the disposition of public properties that could be used as emergency homeless shelters or affordable housing.\u003c/p>\n\u003cp>Naomi Schiff of the Oakland Heritage Alliance, a preservationist group, shared concern at the Oct. 22 hearing that the project continues a trend of privatizing historic civic structures, a common criticism of the recent Kaiser Convention Center development deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I like jazz, I like museums,” she said. “I’m also extremely concerned about nibbling away at the public realm.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The proposed 70,000-square-foot facility including a 400-capacity venue—still in its development infancy—is the longtime dream of Oakland architectural engineer David Allen, but he told KQED it’s too early to detail financing for the estimated $90 million project.\u003c/p>\n\u003cp>The Museum of Jazz and Art previously vied unsuccessfully for sites in downtown Oakland and Jack London Square. The nonprofit organization has reported $170,000 in revenue since 2013, and lists on its board of directors former Pandora Media executive Joe Kennedy. Allen provided letters of support for MOJA from congressperson Barbara Lee and the Tomkat Foundation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>MOJA has provided little information about the proposed museum’s collection and programming. Its website promises musician grants and low-interest loans, tutoring and mentorship, support for existing Oakland youth jazz programs, and a national jazz hall of fame. “The most important thing is the public benefit component,” Allen said, adding that if the Oak Street site falls through he intends to shop the museum in Los Angeles or San Francisco.\u003c/p>\n\u003cp>Supporters say MOJA will provide creative and economic benefits that realize the city’s cultural equity goals, plus anchor the Black Arts Movement and Business District (BAMBD), which has sought greater public investment for years. Councilmember Nikki Fortunato-Bas, who introduced the resolution with colleague Lynette Gibson-McElhaney, called it an opportunity to preserve Oakland’s cultural heritage, and noted her experience mediating tense public benefits negotiations for the Henry J. Kaiser Convention Center development.\u003c/p>\n\u003cp>“What we’re moving forward is the very beginning of a process,” said Fortunato-Bas.\u003c/p>\n\u003cp>BAMBD spokesperson Eric Arnold and several local activists and arts figures including Carroll Fife of Alliance of Californians for Community Empowerment and Leah King of Youth Speaks commented in favor of the project. They said it would redress the injustices of urban renewal, mentioning BART construction destroying West Oakland’s black nightlife corridor.\u003c/p>\n\u003cp>“This would be a giant step, to paraphrase John Coltrane, in implementing the cultural equity called for in the cultural plan,” Arnold said.\u003c/p>\n\u003cp>“Where public land cannot be used for housing, it’s important to use it for cultural preservation,” Fife said. “Preserve the property for the public good.” \u003c/p>\n\u003cfigure id=\"attachment_13869361\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/IMG_3844-800x450.gif\" alt=\"The Fire Alarm Building at 1310 Oak Street is currently used by city employees.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-800x450.gif 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-160x90.gif 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-768x432.gif 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1020x574.gif 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1200x675.gif 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3844-1920x1080.gif 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Fire Alarm Building at 1310 Oak Street is currently used by city employees.\u003c/figcaption>\u003c/figure>\n\u003cp>The property consists of approximately one acre in the shadow of the Alameda County Superior Courthouse and the Oakland Public Library Main Branch, with the single-story, 4,500 square foot Fire Alarm Building surrounded by trees, parking and, lately, tents. The structure is used by city employees in various departments, and Lake Chalet restaurant leases some of the parking.\u003c/p>\n\u003cp>Members of the Coalition of Advocates for Lake Merritt (CALM) and supporters of the Oakland Public Library said Tuesday and at an earlier committee hearing that councilmembers are advancing the MOJA proposal prematurely. The Fire Alarm Building has been identified in planning documents as an ideal expansion site for the library’s main branch, and they believe the MOJA negotiations should pause pending the library’s planned feasibility study of the site.\u003c/p>\n\u003cp>“The library could do more, but its main branch is too small and outdated to meet the needs of Oakland’s population,” said retired Oakland librarian Helen Bloch at an Oct. 22 committee hearing. “I ask that, because this is public land, the site be studied for uses that benefit all Oaklanders.”\u003c/p>\n\u003cfigure id=\"attachment_13869363\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869363\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/11/IMG_3850-800x450.gif\" alt=\"The Fire Alarm Building is surrounded by a parking lot, trees and, lately, tents.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-800x450.gif 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-160x90.gif 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-768x432.gif 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1020x574.gif 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1200x675.gif 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_3850-1920x1080.gif 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Fire Alarm Building is surrounded by a parking lot, trees and, lately, tents. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>CALM member John Klein said the organization previously opposed development on the Oak Street parcel, and suggested other sites for MOJA. The land around the Fire Alarm Building should remain open space, he said, and be better incorporated into the greenbelt surrounding Lake Merritt. “18 years we’ve been looking out for this property,” Klein said. “Here we are again.”\u003c/p>\n\u003cp>James Vann of CALM also argued Tuesday that councilmembers are violating California’s Surplus Land Act, which requires government agencies to prioritize affordable housing when leasing or selling public land, and urged them not to \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2015/07/06/breaking-news-oakland-city-attorney-said-luxury-tower-deal-is-illegal\">repeat\u003c/a> the mistake. Underlying the tension is the city’s delay in creating a promised policy for the disposition of public properties that could be used as emergency homeless shelters or affordable housing.\u003c/p>\n\u003cp>Naomi Schiff of the Oakland Heritage Alliance, a preservationist group, shared concern at the Oct. 22 hearing that the project continues a trend of privatizing historic civic structures, a common criticism of the recent Kaiser Convention Center development deal.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I like jazz, I like museums,” she said. “I’m also extremely concerned about nibbling away at the public realm.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Note: This episode originally aired March 17, 2019\u003c/em>\u003c/p>\n\u003cp>Shy’an G’s music is like listening to an open diary entry.\u003c/p>\n\u003cp>Shy’an, an East Bay native, says her style of writing dates back to the time she stole her sister’s copy of Tupac’s \u003cem>All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>The short version is that she sat under the jungle gym on the playground while listening to the album on a Discman, penning her own rhymes, and she hasn’t stopped since.\u003c/p>\n\u003cfigure id=\"attachment_13853017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg\" alt=\"Cover detail from Shy'an'G's new album, 'The Reset.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover detail from Shy’an’G’s new album, ‘The Reset.’ \u003ccite>(Shyan'G)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The longer, more nuanced version is the story of a young woman who honed her craft and has used it to navigate all that life has thrown at her, from educational hurdles to unsavory roommates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Writing and family have been Shy’an’s support system through it all. As an ode to her support system, she recently dropped \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/the-reset\">The Reset\u003c/a>\u003c/em>, her second studio project. For this week’s episode of \u003cem>Rightnowish\u003c/em>, I chopped it up with her about the project, which highlights family, writing and taking a moment to realize you’ve made it through some trials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click the audio link above to check it out.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This episode originally aired March 17, 2019\u003c/em>\u003c/p>\n\u003cp>Shy’an G’s music is like listening to an open diary entry.\u003c/p>\n\u003cp>Shy’an, an East Bay native, says her style of writing dates back to the time she stole her sister’s copy of Tupac’s \u003cem>All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>The short version is that she sat under the jungle gym on the playground while listening to the album on a Discman, penning her own rhymes, and she hasn’t stopped since.\u003c/p>\n\u003cfigure id=\"attachment_13853017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg\" alt=\"Cover detail from Shy'an'G's new album, 'The Reset.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover detail from Shy’an’G’s new album, ‘The Reset.’ \u003ccite>(Shyan'G)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The longer, more nuanced version is the story of a young woman who honed her craft and has used it to navigate all that life has thrown at her, from educational hurdles to unsavory roommates.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Writing and family have been Shy’an’s support system through it all. As an ode to her support system, she recently dropped \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/the-reset\">The Reset\u003c/a>\u003c/em>, her second studio project. For this week’s episode of \u003cem>Rightnowish\u003c/em>, I chopped it up with her about the project, which highlights family, writing and taking a moment to realize you’ve made it through some trials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click the audio link above to check it out.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Miko Marks has toured the United States as a country singer for over a decade. She started as an aspiring singer in Michigan, crossed paths with Erykah Badu while in college, and won awards for her singing as a young adult. But recently, through her time skating with the \u003ca href=\"https://www.instagram.com/oaklandrollers/?hl=en\" target=\"_blank\" rel=\"noopener\">Oakland Rollers\u003c/a>, she’s begun to explore other musical genres. Inspired by the group’s camaraderie, shared laughter, bright skates and fanny packs, Marks found inspiration for her latest song, “\u003ca href=\"http://smarturl.it/wq990a\" target=\"_blank\" rel=\"noopener\">Roll Out\u003c/a>.”\u003c/p>\n\u003cp>“Happiness is in the air / good vibes are floating ’round / and whenever I see the sun out shining bright / I throw on my wheels / I got to get out,” sings Marks over the groove-heavy track produced by \u003ca href=\"https://www.kqed.org/arts/13812001/behind-the-beats-julia-lewis\" rel=\"noopener\" target=\"_blank\">Julia Lewis\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13860033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg\" alt=\"The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marks’ summertime song served as an anthem for the lakeside skaters, and made me curious about what’s going on in her niche of the Bay Area. So I met her and her crew over at a cul-de-sac on the southeastern side of Lake Merritt, and got to know a little bit more about Miko, her musical history and the roller skaters who have made the lakeside their rink.\u003c/span>\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Miko Marks has toured the United States as a country singer for over a decade. She started as an aspiring singer in Michigan, crossed paths with Erykah Badu while in college, and won awards for her singing as a young adult. But recently, through her time skating with the \u003ca href=\"https://www.instagram.com/oaklandrollers/?hl=en\" target=\"_blank\" rel=\"noopener\">Oakland Rollers\u003c/a>, she’s begun to explore other musical genres. Inspired by the group’s camaraderie, shared laughter, bright skates and fanny packs, Marks found inspiration for her latest song, “\u003ca href=\"http://smarturl.it/wq990a\" target=\"_blank\" rel=\"noopener\">Roll Out\u003c/a>.”\u003c/p>\n\u003cp>“Happiness is in the air / good vibes are floating ’round / and whenever I see the sun out shining bright / I throw on my wheels / I got to get out,” sings Marks over the groove-heavy track produced by \u003ca href=\"https://www.kqed.org/arts/13812001/behind-the-beats-julia-lewis\" rel=\"noopener\" target=\"_blank\">Julia Lewis\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13860033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg\" alt=\"The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marks’ summertime song served as an anthem for the lakeside skaters, and made me curious about what’s going on in her niche of the Bay Area. So I met her and her crew over at a cul-de-sac on the southeastern side of Lake Merritt, and got to know a little bit more about Miko, her musical history and the roller skaters who have made the lakeside their rink.\u003c/span>\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "MADlines brings 'God Talk' to Downtown Oakland",
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"content": "\u003cp>\u003ca href=\"https://www.facebook.com/MADlinesmusic/\" target=\"_blank\" rel=\"noopener\">MADlines\u003c/a>, an MC and educator originally from Seattle, Washington, has called East Oakland home for almost a decade, working in the community as well as in San Francisco’s Juvenile Hall. Those experiences, as well as headlines about infant mortality rates and police brutality—especially the killing of \u003ca href=\"https://www.npr.org/tags/769902235/atatiana-jefferson\" target=\"_blank\" rel=\"noopener\">Atatiana Jefferson—\u003c/a>have inspired her latest video, “God Talk.”\u003c/p>\n\u003cp>“I’m a deity, the birds envy me. Lips is sweet, divinity,” MADlines raps on the chorus of the new track, which features the Bay Area’s own \u003ca href=\"https://xiomaramusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Xiomara\u003c/a>. She premieres the video, shot by Emmy-nominated producer \u003ca href=\"http://www.contessagayles.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Contessa Gayles\u003c/a>, in an event on Nov. 8 at Bandcamp’s headquarters in downtown Oakland.\u003c/p>\n\u003cp>“Black women do want to be vulnerable,” says MADlines. “But it’s hard to walk in the world without armor.”\u003c/p>\n\u003cp>This is the first feature off of an album MADlines plans to drop in the summer of 2020, made possible in part by the City of Oakland’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\" target=\"_blank\" rel=\"noopener\">Individual Artist Grant Program\u003c/a>.\u003c/p>\n\u003cp>MADlines says the driving concept behind her Nov. 8 performance is related to other arts projects in the Bay Area, such as \u003ca href=\"https://www.kqed.org/arts/12959678/a-house-full-of-black-women-a-week-of-rest\" target=\"_blank\" rel=\"noopener\">House/Full of BlackWomen\u003c/a>, \u003ca href=\"https://www.asharaekundayogallery.com/black-womxn-dreaming-divine-the-darkness-march-april-2019\" target=\"_blank\" rel=\"noopener\">Black Womxn Dreaming\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13806395/an-expanded-vision-of-healing-and-divine-black-femininity\" target=\"_blank\" rel=\"noopener\">The Black Woman is God\u003c/a>, which is curated by Karen Senefru, who makes a cameo in MADlines’ new video. “So, it’s not standing on its own,” says MADlines. “It’s a part of a larger push about the way we’re responding to society.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MADlines says the evening will be a celebration of black women’s divinity, as Oakland’s own \u003ca href=\"https://www.melissajonesartist.com/\" target=\"_blank\" rel=\"noopener\">Melissa Jones\u003c/a> will perform, along with \u003ca href=\"http://www.indigomateo.com/\" target=\"_blank\" rel=\"noopener\">Indigo Mateo\u003c/a>. The event starts at 6:30pm and is free for all ages. \u003ca href=\"https://www.eventbrite.com/e/contagious-spirit-god-talk-tickets-75964494849\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/MADlinesmusic/\" target=\"_blank\" rel=\"noopener\">MADlines\u003c/a>, an MC and educator originally from Seattle, Washington, has called East Oakland home for almost a decade, working in the community as well as in San Francisco’s Juvenile Hall. Those experiences, as well as headlines about infant mortality rates and police brutality—especially the killing of \u003ca href=\"https://www.npr.org/tags/769902235/atatiana-jefferson\" target=\"_blank\" rel=\"noopener\">Atatiana Jefferson—\u003c/a>have inspired her latest video, “God Talk.”\u003c/p>\n\u003cp>“I’m a deity, the birds envy me. Lips is sweet, divinity,” MADlines raps on the chorus of the new track, which features the Bay Area’s own \u003ca href=\"https://xiomaramusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Xiomara\u003c/a>. She premieres the video, shot by Emmy-nominated producer \u003ca href=\"http://www.contessagayles.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Contessa Gayles\u003c/a>, in an event on Nov. 8 at Bandcamp’s headquarters in downtown Oakland.\u003c/p>\n\u003cp>“Black women do want to be vulnerable,” says MADlines. “But it’s hard to walk in the world without armor.”\u003c/p>\n\u003cp>This is the first feature off of an album MADlines plans to drop in the summer of 2020, made possible in part by the City of Oakland’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\" target=\"_blank\" rel=\"noopener\">Individual Artist Grant Program\u003c/a>.\u003c/p>\n\u003cp>MADlines says the driving concept behind her Nov. 8 performance is related to other arts projects in the Bay Area, such as \u003ca href=\"https://www.kqed.org/arts/12959678/a-house-full-of-black-women-a-week-of-rest\" target=\"_blank\" rel=\"noopener\">House/Full of BlackWomen\u003c/a>, \u003ca href=\"https://www.asharaekundayogallery.com/black-womxn-dreaming-divine-the-darkness-march-april-2019\" target=\"_blank\" rel=\"noopener\">Black Womxn Dreaming\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13806395/an-expanded-vision-of-healing-and-divine-black-femininity\" target=\"_blank\" rel=\"noopener\">The Black Woman is God\u003c/a>, which is curated by Karen Senefru, who makes a cameo in MADlines’ new video. “So, it’s not standing on its own,” says MADlines. “It’s a part of a larger push about the way we’re responding to society.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MADlines says the evening will be a celebration of black women’s divinity, as Oakland’s own \u003ca href=\"https://www.melissajonesartist.com/\" target=\"_blank\" rel=\"noopener\">Melissa Jones\u003c/a> will perform, along with \u003ca href=\"http://www.indigomateo.com/\" target=\"_blank\" rel=\"noopener\">Indigo Mateo\u003c/a>. The event starts at 6:30pm and is free for all ages. \u003ca href=\"https://www.eventbrite.com/e/contagious-spirit-god-talk-tickets-75964494849\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland native Timothy B. has been putting paint where it ain’t for some time now—and the center of his work is family.\u003c/p>\n\u003cp>He was born in 1992, the same year his father, Timothy Bluitt Sr., was sent to prison. A former high-ranking member of the East Oakland street organization the \u003ca href=\"https://en.wikipedia.org/wiki/Felix_Mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">69 Mob\u003c/a>, the elder Timothy served nearly a quarter century behind bars. During that time, Oakland changed a lot, and so did the Bluitt family: Timothy’s mom, Dana Bluitt, worked her ass off to make sure the family wasn’t broken, and instead, made uniquely strong.\u003c/p>\n\u003cp>Meanwhile, Timothy B. grew into an incredible artist.\u003c/p>\n\u003cfigure id=\"attachment_13868877\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg\" alt=\"Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \" width=\"640\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family-160x212.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \u003ccite>(Courtesy the Bluitt Family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April of this year, when Timothy B. and Natty Rebel of the \u003ca href=\"https://www.thebamp.org/\">Bay Area Mural Program\u003c/a> co-created a mural dedicated to the late rapper and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, the community came together in a way that’s rarely seen in the arts scene. On top of your usual artsy types, middle-aged folks broke stride in their jog to look at the piece, nonprofit workers in slacks got in glimpses as they went home from their jobs and former d-boys parked candy-coated muscle cars nearby to take flicks in front of the fresh paint.\u003c/p>\n\u003cfigure id=\"attachment_13868505\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg\" alt=\"Timothy B. and Natty Rebel of the Bay Area Mural Project\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. and Natty Rebel of the Bay Area Mural Project. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this week’s episode of \u003cem>Rightnowish\u003c/em>, I sat down with Timothy to talk about how Oakland is diverse, but it’s also very divided. How’d Timothy manage to bring out the different flavors of the community? What do his parents think about Timothy’s growth? What does the family’s story say about what’s going on right now … ish?\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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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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"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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"id": "fresh-air",
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"hidden-brain": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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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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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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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",
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"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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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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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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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"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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