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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As cautions around further spread of the Coronavirus have caused an almost never-ending \u003ca href=\"https://www.kqed.org/arts/13876160/canceled-by-coronavirus-a-list-of-bay-area-concerts-cultural-events-museums-more\" target=\"_blank\" rel=\"noopener noreferrer\">list of canceled events\u003c/a>, Oakland’s Red Bay Coffee has decided to take their newest location’s grand opening online.\u003c/p>\n\u003cp>What was scheduled as an open house and conversation with Red Bay Coffee’s owner, Keba Konte, has now turned into \u003ca href=\"https://www.eventbrite.com/e/red-bay-coffees-virtual-open-house-tickets-92412114121\" target=\"_blank\" rel=\"noopener noreferrer\">a virtual tour\u003c/a> and an online question-and-answer session.\u003c/p>\n\u003cp>At 2pm on Saturday, March 14th, people who join the live conversation will get a “hard hat tour” of the company’s new \u003ca href=\"https://www.redbaycoffee.com/pages/hq\" target=\"_blank\" rel=\"noopener noreferrer\">headquarters\u003c/a>, according to Ronaldo Brown, the company’s head of marketing.\u003c/p>\n\u003cp>The building, the former site of a bank, is located on the corner of International Boulevard and Fruitvale Avenue in East Oakland.\u003c/p>\n\u003cp>Brown told me that, in addition to having office space for other business to rent, the building will have three main components; the first being a cafe for consumers, and the second being a quality control lab where workers will inspect coffee shipped in from around the world. The third is something I’ve got to see for myself: a “story vault,” where people will be invited to share their stories about coffee.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’d be another layer to what I’ve seen of Red Bay Coffee’s community involvement. I know they host open mics, like \u003ca href=\"https://www.instagram.com/gold.beams/\" target=\"_blank\" rel=\"noopener noreferrer\">Gold Beams’ Second Mondays\u003c/a> series at their East 10th St. location, which isn’t too far from their new headquarters. In fact, I’ve been to film screenings there, as well as an event honoring the life of Nia Wilson, and a jam session where Tank and the Bangas were the headliner. But never anything like a “story vault.”\u003c/p>\n\u003cp>To see that in person, I’ll have to wait until the official opening, which is scheduled for mid-May.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For those wondering, Red Bay’s location on E. 10th will remain open. And in addition to these two locations, \u003ca href=\"https://www.redbaycoffee.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Red Bay Coffee\u003c/a> (which has one other site in Oakland, two locations in San Francisco and one in Richmond) is set to open their \u003ca href=\"https://la.eater.com/2019/11/19/20971257/red-bay-coffee-roaster-oakland-opening-jefferson-park-los-angeles\" target=\"_blank\" rel=\"noopener noreferrer\">first Southern California location\u003c/a> in Los Angeles’ Jefferson Park neighborhood later in 2020.—\u003cem>Pendarvis Harshaw\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n a news cycle like ours, the closure of McClymonds High School in West Oakland might seem overshadowed by national headlines about the Grand Princess cruise ship, which on Monday carried people with coronavirus to the Port of Oakland.\u003c/p>\n\u003cp>But the McClymonds story is important. It’s a site where trichloroethylene (TCE), a cancer-causing chemical, was found in the groundwater late last month. And after two and a half weeks away from campus, it’s where students are scheduled to return to next week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In addition to TCE, the school is surrounded by a horseshoe-shaped freeway structure, thousands of shipping trucks and underground storage tanks– a number of them have resulted in documented leaks. That’s because West Oakland was an industrial bastion for the greater part of the 20th century. Numerous factories, plants and warehouses have sullied its soil. (The city’s only known EPA Superfund Site—a cleanup priority for the EPA— is \u003ca href=\"https://cumulis.epa.gov/supercpad/cursites/csitinfo.cfm?id=0905334\" target=\"_blank\" rel=\"noopener noreferrer\">AMCO Chemical\u003c/a> in West Oakland.) \u003ca href=\"http://acphd.org/media/496252/air-pollution-health-impacts-west-oakland-acphd-2018.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">It’s home\u003c/a> to Alameda County’s highest levels of asthma and lowest life expectancy.\u003c/p>\n\u003cp>And who lives in West Oakland? During the decades of rampant redlining, it was one of the few places in the Bay Area African Americans could freely move into. That’s why McClymonds, historically, is a predominantly African American school. It’s also known for its legendary alums (Bill Russell and Frank Robinson, to name a few) and honored for its football team recently winning the state championship \u003ca href=\"https://www.sfgate.com/sports/article/McClymonds-is-a-state-football-champion-for-3rd-13469769.php\" target=\"_blank\" rel=\"noopener noreferrer\">three times in a row\u003c/a>. It’s a pillar of the community, and even with the changing demographics in the neighborhood due to gentrification, the school’s \u003ca href=\"https://www.publicschoolreview.com/mcclymonds-high-school-profile\" target=\"_blank\" rel=\"noopener noreferrer\">reported population\u003c/a> of 372 students is still 80% African American.\u003c/p>\n\u003cp>Much of the coverage of McClymonds’ closure has centered on input from adults: elected officials, parents and school administrators. But what’s it like to be a student, in a literally toxic environment? I wanted to find out.\u003c/p>\n\u003cfigure id=\"attachment_13876186\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8532-800x535.jpg\" alt=\"Shoes and Shakur. Some of the items inside of the Restorative Justice Circle. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shoes and Shakur. Some of the items inside of the Restorative Justice Circle. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>nside the staff room at Ralph J. Bunche Academy in West Oakland, Saba Ghebreyesus (or Ms. Saba as the students call her), director of the youth-led multimedia platform \u003ca href=\"https://www.instagram.com/direct/t/340282366841710300949128149233437389874\" target=\"_blank\" rel=\"noopener noreferrer\">IceeHouse\u003c/a>, stood at the dry-erase board writing the agreements for a restorative justice circle. A few minutes later, a handful of students from McClymonds trickled in, followed by a teacher, Mr. Taylor (not to be confused with the McClymonds principal, Jeffrey Taylor, who was also present, as well as Oakland Unified School District Administrator Vanessa Sifuentes-Dimaano).\u003c/p>\n\u003cp>The goal of the circle at Bunche, where McClymonds students were temporarily relocated, was to give young folks an opportunity to discuss how they’re processing the news that a potentially harmful chemical was discovered under their school just weeks ago.\u003c/p>\n\u003cp>The door closed and the students sat in a circle around a few items: an old sidekick two-way, a brick cellphone, the \u003cem>Tupac Shakur Legacy\u003c/em> book by Jamal Joseph, and the talking piece: a miniature statue of people in a rowboat. After some warm-up questions, Ms. Saba asked, “What was running through your mind and what were you feeling when you first heard a hazardous chemical was found at McClymonds?”\u003c/p>\n\u003cp>“To be honest, I just kinda seen it as no school for us last week,” said a ninth grader named Christopher as he let out a slight laugh.\u003c/p>\n\u003cp>Miles, a 10th grader, brought up Ramone Sanders, a McClymonds alumnus who was diagnosed with cancer at 19 years old in 2019. “It was kind of like, wow, that could have really been responsible for his death,” he said. “And they could shut down the whole school because of that.”\u003c/p>\n\u003cfigure id=\"attachment_13876187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8548-800x535.jpg\" alt=\"Dwayne, a senior at McClymonds stands in the hallway at Ralph J. Bunche Academy in West Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne, a senior at McClymonds stands in the hallway at Ralph J. Bunche Academy in West Oakland \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other students brought up concerns about how missing class could impact their academic success. “Was that going to affect my credits? Was that going to affect my graduation?” asked a 12th grader named Neyionna. “The TCE, how long has it really been there?… I’m just saying, Mack just needs to be rebuilt, I think, because where Mack is, is an industrial area: the factories, the gas stations… And it’s all black [people], so yeah, I think that’s kinda racist,” she concluded.\u003c/p>\n\u003cp>A senior named Dwayne pointed out that news of contamination affected his and other students’ mental health. “I have something called generalized anxiety disorder. It gets triggered by events like this,” he said. “I’m a hypochondriac as well. So, I was like, ‘I definitely have cancer.'”\u003c/p>\n\u003cp>He shared that he’s angry and confused, and that his trust in the adults in charge has been shaken. “If McClymonds were to burn down that day, what would be the plan OUSD would implement for all of this?” he asked. “Is there a plan in place for a natural disaster? It just seems like it took a little too long for us to have a plan.”\u003c/p>\n\u003cp>Ashely, another senior, said, “It’s really stressful … It’s like: Oh, my god, again? We have ANOTHER issue at McClymonds? It’s just irritating, I don’t want to go through it.” She said moving campuses, dealing with this and ‘senior-itis’ is a lot. “I just want to give up.”\u003c/p>\n\u003cp>“My initial reaction was to do my research so I don’t make any wrong assumptions about what’s going on,” said Themba, a senior who wants to go to college to become a chemical engineer. “Let me figure out what’s going on, what’s TCE; I don’t want to just hear ‘it’s cancer.’ Let me figure out what it does, what’s the chemical?”\u003c/p>\n\u003cp>Despite his knack for information gathering, Themba said he didn’t attend any of the community meetings held after the discovery of the chemical “because I knew it was going to be hectic, I knew it was going loud,” he said, adding that he questioned people’s intentions: “Who are you really fighting for? Where do you stand? … Are you really here for the kids who want to learn?”\u003c/p>\n\u003cp>Ms. Saba received the talking piece from Themba and said, “This is not just about McClymonds, this is about something bigger than McClymonds. This is about years of environmental waste that’s impacting a specific community, when I say years, I’m talking about 30 to 40 years of history.”\u003c/p>\n\u003cp>(\u003cem>Longer even\u003c/em>, I thought to myself.)\u003c/p>\n\u003cfigure id=\"attachment_13876189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8531-800x535.jpg\" alt=\"Christopher and the talking piece, Seraiah sitting behind him\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher and the talking piece, Seraiah sitting behind him \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, a noise outside the door interrupted the discussion. \u003cem>I’m about to slap these little girls in the face, so somebody better go get them right now\u003c/em>, said an adult’s voice from the hallway. \u003cem>Where is the principal? … I’m not dealing with this anymore. I done had every emotion this week, and they want to come in here being disrespectful…\u003c/em>\u003c/p>\n\u003cp>Clearly, tensions were high, and even the adults were on edge. Our circle sat quietly as the voice outside passed by.\u003c/p>\n\u003cp>Principal Taylor briefly stepped out to address the noise, while Ms. Saba broke the silence. “I don’t want ya’ll to get distracted, I want ya’ll to focus on what ya’ll want to share and what’s important to ya’ll. We have one more question before we close out.”\u003c/p>\n\u003cp>She instructed everyone to take a deep breath. “What do you think needs to be done to make things as right as possible? And what do you need? What do you personally need from your principal and from yourself and from your peers?” asked Ms. Saba.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Principal Taylor held the talking piece and said, “From everybody, we need a little compassion and a little understanding. Everybody’s anxiety levels are already past ten… The students, I need them to understand that, it’s not their fault, and it’s not our fault.”\u003c/p>\n\u003cp>Principal Taylor then somberly brought up \u003ca href=\"https://www.eastbaytimes.com/2017/07/06/funeral-services-set-for-mcclymonds-football-standout-darryl-aikens/\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Aikens\u003c/a>, who was one of his students and who died of leukemia in 2017. “Everybody keeps using him as an excuse, you know, ‘He caught cancer from the school,’” Principal Taylor said in air-quotes.\u003c/p>\n\u003cp>“They don’t even know his mom. Don’t know his family. And they keep putting him out there, and it’s making his mother sick. His grandmother sick… I just want it to stop.”\u003c/p>\n\u003cp>Vanessa from OUSD’s central office took the talking piece, and noted that “compassion and empathy” are required on all fronts; she concluded by asking that the students, “Continue to be that voice.”\u003c/p>\n\u003cfigure id=\"attachment_13876192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8541-800x535.jpg\" alt=\"Miles talks while Principal Taylor sits in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miles talks while Principal Taylor sits in the background. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>iles, designer scarf around his forehead and a big jacket, took the talking piece and brought the discussion to another form of toxicity that exists at many schools, not just McClymonds. “What I need from the staff is for them to show that they actually care,” he said.\u003c/p>\n\u003cp>He noted that some faculty members bring their own issues with them to the classroom, and leave it to the students to educate themselves.\u003c/p>\n\u003cp>“You’re supposed to be teaching us, we’re not adults yet. I’m only in the 10th grade,” said Miles. “They’re looking at us like we’re 35. Like we’re supposed to be teaching them. They’ve gotta teach us.” He was met with at least one person’s supportive applause when he made that point.\u003c/p>\n\u003cp>The talking piece landed back in Ms. Saba’s hands. She closed the circle by thanking all the participants and ended by sharing a quote from Margaret Mead.\u003c/p>\n\u003cp>“Never doubt that a small group of thoughtful, committed citizens can change the world,” she recited. “Indeed, it is the only thing that ever has.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n a news cycle like ours, the closure of McClymonds High School in West Oakland might seem overshadowed by national headlines about the Grand Princess cruise ship, which on Monday carried people with coronavirus to the Port of Oakland.\u003c/p>\n\u003cp>But the McClymonds story is important. It’s a site where trichloroethylene (TCE), a cancer-causing chemical, was found in the groundwater late last month. And after two and a half weeks away from campus, it’s where students are scheduled to return to next week.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>In addition to TCE, the school is surrounded by a horseshoe-shaped freeway structure, thousands of shipping trucks and underground storage tanks– a number of them have resulted in documented leaks. That’s because West Oakland was an industrial bastion for the greater part of the 20th century. Numerous factories, plants and warehouses have sullied its soil. (The city’s only known EPA Superfund Site—a cleanup priority for the EPA— is \u003ca href=\"https://cumulis.epa.gov/supercpad/cursites/csitinfo.cfm?id=0905334\" target=\"_blank\" rel=\"noopener noreferrer\">AMCO Chemical\u003c/a> in West Oakland.) \u003ca href=\"http://acphd.org/media/496252/air-pollution-health-impacts-west-oakland-acphd-2018.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">It’s home\u003c/a> to Alameda County’s highest levels of asthma and lowest life expectancy.\u003c/p>\n\u003cp>And who lives in West Oakland? During the decades of rampant redlining, it was one of the few places in the Bay Area African Americans could freely move into. That’s why McClymonds, historically, is a predominantly African American school. It’s also known for its legendary alums (Bill Russell and Frank Robinson, to name a few) and honored for its football team recently winning the state championship \u003ca href=\"https://www.sfgate.com/sports/article/McClymonds-is-a-state-football-champion-for-3rd-13469769.php\" target=\"_blank\" rel=\"noopener noreferrer\">three times in a row\u003c/a>. It’s a pillar of the community, and even with the changing demographics in the neighborhood due to gentrification, the school’s \u003ca href=\"https://www.publicschoolreview.com/mcclymonds-high-school-profile\" target=\"_blank\" rel=\"noopener noreferrer\">reported population\u003c/a> of 372 students is still 80% African American.\u003c/p>\n\u003cp>Much of the coverage of McClymonds’ closure has centered on input from adults: elected officials, parents and school administrators. But what’s it like to be a student, in a literally toxic environment? I wanted to find out.\u003c/p>\n\u003cfigure id=\"attachment_13876186\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8532-800x535.jpg\" alt=\"Shoes and Shakur. Some of the items inside of the Restorative Justice Circle. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8532.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shoes and Shakur. Some of the items inside of the Restorative Justice Circle. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>nside the staff room at Ralph J. Bunche Academy in West Oakland, Saba Ghebreyesus (or Ms. Saba as the students call her), director of the youth-led multimedia platform \u003ca href=\"https://www.instagram.com/direct/t/340282366841710300949128149233437389874\" target=\"_blank\" rel=\"noopener noreferrer\">IceeHouse\u003c/a>, stood at the dry-erase board writing the agreements for a restorative justice circle. A few minutes later, a handful of students from McClymonds trickled in, followed by a teacher, Mr. Taylor (not to be confused with the McClymonds principal, Jeffrey Taylor, who was also present, as well as Oakland Unified School District Administrator Vanessa Sifuentes-Dimaano).\u003c/p>\n\u003cp>The goal of the circle at Bunche, where McClymonds students were temporarily relocated, was to give young folks an opportunity to discuss how they’re processing the news that a potentially harmful chemical was discovered under their school just weeks ago.\u003c/p>\n\u003cp>The door closed and the students sat in a circle around a few items: an old sidekick two-way, a brick cellphone, the \u003cem>Tupac Shakur Legacy\u003c/em> book by Jamal Joseph, and the talking piece: a miniature statue of people in a rowboat. After some warm-up questions, Ms. Saba asked, “What was running through your mind and what were you feeling when you first heard a hazardous chemical was found at McClymonds?”\u003c/p>\n\u003cp>“To be honest, I just kinda seen it as no school for us last week,” said a ninth grader named Christopher as he let out a slight laugh.\u003c/p>\n\u003cp>Miles, a 10th grader, brought up Ramone Sanders, a McClymonds alumnus who was diagnosed with cancer at 19 years old in 2019. “It was kind of like, wow, that could have really been responsible for his death,” he said. “And they could shut down the whole school because of that.”\u003c/p>\n\u003cfigure id=\"attachment_13876187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876187\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8548-800x535.jpg\" alt=\"Dwayne, a senior at McClymonds stands in the hallway at Ralph J. Bunche Academy in West Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8548.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dwayne, a senior at McClymonds stands in the hallway at Ralph J. Bunche Academy in West Oakland \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other students brought up concerns about how missing class could impact their academic success. “Was that going to affect my credits? Was that going to affect my graduation?” asked a 12th grader named Neyionna. “The TCE, how long has it really been there?… I’m just saying, Mack just needs to be rebuilt, I think, because where Mack is, is an industrial area: the factories, the gas stations… And it’s all black [people], so yeah, I think that’s kinda racist,” she concluded.\u003c/p>\n\u003cp>A senior named Dwayne pointed out that news of contamination affected his and other students’ mental health. “I have something called generalized anxiety disorder. It gets triggered by events like this,” he said. “I’m a hypochondriac as well. So, I was like, ‘I definitely have cancer.'”\u003c/p>\n\u003cp>He shared that he’s angry and confused, and that his trust in the adults in charge has been shaken. “If McClymonds were to burn down that day, what would be the plan OUSD would implement for all of this?” he asked. “Is there a plan in place for a natural disaster? It just seems like it took a little too long for us to have a plan.”\u003c/p>\n\u003cp>Ashely, another senior, said, “It’s really stressful … It’s like: Oh, my god, again? We have ANOTHER issue at McClymonds? It’s just irritating, I don’t want to go through it.” She said moving campuses, dealing with this and ‘senior-itis’ is a lot. “I just want to give up.”\u003c/p>\n\u003cp>“My initial reaction was to do my research so I don’t make any wrong assumptions about what’s going on,” said Themba, a senior who wants to go to college to become a chemical engineer. “Let me figure out what’s going on, what’s TCE; I don’t want to just hear ‘it’s cancer.’ Let me figure out what it does, what’s the chemical?”\u003c/p>\n\u003cp>Despite his knack for information gathering, Themba said he didn’t attend any of the community meetings held after the discovery of the chemical “because I knew it was going to be hectic, I knew it was going loud,” he said, adding that he questioned people’s intentions: “Who are you really fighting for? Where do you stand? … Are you really here for the kids who want to learn?”\u003c/p>\n\u003cp>Ms. Saba received the talking piece from Themba and said, “This is not just about McClymonds, this is about something bigger than McClymonds. This is about years of environmental waste that’s impacting a specific community, when I say years, I’m talking about 30 to 40 years of history.”\u003c/p>\n\u003cp>(\u003cem>Longer even\u003c/em>, I thought to myself.)\u003c/p>\n\u003cfigure id=\"attachment_13876189\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876189\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8531-800x535.jpg\" alt=\"Christopher and the talking piece, Seraiah sitting behind him\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8531.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Christopher and the talking piece, Seraiah sitting behind him \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Suddenly, a noise outside the door interrupted the discussion. \u003cem>I’m about to slap these little girls in the face, so somebody better go get them right now\u003c/em>, said an adult’s voice from the hallway. \u003cem>Where is the principal? … I’m not dealing with this anymore. I done had every emotion this week, and they want to come in here being disrespectful…\u003c/em>\u003c/p>\n\u003cp>Clearly, tensions were high, and even the adults were on edge. Our circle sat quietly as the voice outside passed by.\u003c/p>\n\u003cp>Principal Taylor briefly stepped out to address the noise, while Ms. Saba broke the silence. “I don’t want ya’ll to get distracted, I want ya’ll to focus on what ya’ll want to share and what’s important to ya’ll. We have one more question before we close out.”\u003c/p>\n\u003cp>She instructed everyone to take a deep breath. “What do you think needs to be done to make things as right as possible? And what do you need? What do you personally need from your principal and from yourself and from your peers?” asked Ms. Saba.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Principal Taylor held the talking piece and said, “From everybody, we need a little compassion and a little understanding. Everybody’s anxiety levels are already past ten… The students, I need them to understand that, it’s not their fault, and it’s not our fault.”\u003c/p>\n\u003cp>Principal Taylor then somberly brought up \u003ca href=\"https://www.eastbaytimes.com/2017/07/06/funeral-services-set-for-mcclymonds-football-standout-darryl-aikens/\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Aikens\u003c/a>, who was one of his students and who died of leukemia in 2017. “Everybody keeps using him as an excuse, you know, ‘He caught cancer from the school,’” Principal Taylor said in air-quotes.\u003c/p>\n\u003cp>“They don’t even know his mom. Don’t know his family. And they keep putting him out there, and it’s making his mother sick. His grandmother sick… I just want it to stop.”\u003c/p>\n\u003cp>Vanessa from OUSD’s central office took the talking piece, and noted that “compassion and empathy” are required on all fronts; she concluded by asking that the students, “Continue to be that voice.”\u003c/p>\n\u003cfigure id=\"attachment_13876192\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13876192\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/DSC8541-800x535.jpg\" alt=\"Miles talks while Principal Taylor sits in the background\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/DSC8541.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Miles talks while Principal Taylor sits in the background. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>iles, designer scarf around his forehead and a big jacket, took the talking piece and brought the discussion to another form of toxicity that exists at many schools, not just McClymonds. “What I need from the staff is for them to show that they actually care,” he said.\u003c/p>\n\u003cp>He noted that some faculty members bring their own issues with them to the classroom, and leave it to the students to educate themselves.\u003c/p>\n\u003cp>“You’re supposed to be teaching us, we’re not adults yet. I’m only in the 10th grade,” said Miles. “They’re looking at us like we’re 35. Like we’re supposed to be teaching them. They’ve gotta teach us.” He was met with at least one person’s supportive applause when he made that point.\u003c/p>\n\u003cp>The talking piece landed back in Ms. Saba’s hands. She closed the circle by thanking all the participants and ended by sharing a quote from Margaret Mead.\u003c/p>\n\u003cp>“Never doubt that a small group of thoughtful, committed citizens can change the world,” she recited. “Indeed, it is the only thing that ever has.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "in-alice-street-oakland-artist-activists-build-power-by-bridging-communities",
"title": "In ‘Alice Street,’ Oakland Artist-Activists Build Power By Bridging Communities",
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"headTitle": "In ‘Alice Street,’ Oakland Artist-Activists Build Power By Bridging Communities | KQED",
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"content": "\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. [aside postID=arts_13861153,arts_13875113,arts_13866026,arts_13861121]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=1lJRPZLuY9c&w=560&h=315]\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It probably doesn’t feel like a silver lining to the muralists, but the four walls of \u003cem>Universal Language\u003c/em> haven’t been buffed or repainted. The artwork remains. Recently on Broadway, demolition exposed some mid-20th century advertisements on the side of a building, relics of a barely-recognizable city. It suggests the possibility that \u003cem>Universal Language\u003c/em> could daylight again in the lifetime of Oakland’s current residents. The question is who among us will be here to see.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Throughout last year, the steel and concrete frame of a new building in downtown Oakland grew to obscure a sprawling mural. Protesters with picket signs disappeared from view, along with dancers, drummers and martial arts practitioners, leaving the faces of centerpieces Malonga Casquelourd and Ruth Beckford, pillars of the city’s black performing arts tradition. To passersby today the entire artwork is imperceptible behind an incoming housing development. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em>, a forthcoming documentary by Spencer Wilkinson, shows how the \u003cem>Universal Language\u003c/em> mural’s creation and erasure alike catalyzed a multiracial anti-gentrification coalition with significant, ongoing effects on real estate development and city planning in downtown Oakland. Set in just a few city blocks, it’s a story about intractable loss as well as collective refusal, depicting artists’ role in grassroots activism that builds power by bridging communities.\u003c/p>\n\u003cp>Wilkinson, 44, an Oakland filmmaker whose first feature, \u003cem>One Voice\u003c/em> (2018), focused on the Oakland Interfaith Gospel Choir, did not anticipate filming for five years when he started chronicling the mural’s design as part of a work-trade deal in 2014. Now he’s submitting the 70-minute \u003cem>\u003ca href=\"https://alicestreetfilm.com/\">Alice Street\u003c/a>\u003c/em> documentary to film festivals and arranging screenings in other cities grappling with gentrification. Wilkinson expects to announce more Bay Area screenings in the coming months.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/1lJRPZLuY9c'\n title='//www.youtube.com/embed/1lJRPZLuY9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Alice Street\u003c/em> begins with Destiny Muhammad reciting a poem at the corner of 14th and Alice streets in downtown Oakland to subtle, vaguely religious music by Micah Berek. “An intersection of traditions, ancient rhythms, culture keepers and urban oracles,” she says. A montage shows the neighborhood’s cultural diversity and changing built environment. The credits roll, framed by cranes. Imposed on aerial footage of the low-slung flatlands are sharply rising housing costs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film shortly settles on aerosol artist Desi Mundo and studio painter Pancho Pescador of the Community Rejuvenation Project embarking on their largest mural yet: Four walls around a parking lot at Alice and 14th streets. For inspiration, they look directly across the street to the Malonga Casquelourd Center for the Arts, a historic city-owned hub of Afro-diasporic drumming and dance, and also to the Chinatown senior apartments and community center Hotel Oakland.\u003c/p>\n\u003cp>The story has no single conflict or antagonist. The challenge at first appears to be the muralists’ desire to represent two communities to which they’re admitted outsiders, and the project’s most outspoken opponent is an elderly white woman who objects to its exclusion of white people. As soon as the mural is designed and painted to the satisfaction of most neighborhood stakeholders, though, a housing development proposal threatens to render it totally invisible.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2014/07/Mural-Wide.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014.' width=\"800\" height=\"533\" class=\"size-full wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“People in the Bay Area are starting to see the benefits of Oakland,” says Maria Poncel of Bay Development, explaining to Mundo and Pescador that the mural will continue to exist behind the planned 16-story tower. “We’re going through sort of a second renaissance.” It’s one of several awkward remarks from developers, property owners and elected officials (has Mayor Libby Schaaf retired “secret sauce”?) that Wilkinson seems to highlight for their evident shallowness.\u003c/p>\n\u003cp>Halfway through the documentary, then, the mural intended to celebrate cultures at risk of displacement itself confronts disappearance, multiplying its symbolic potency. And the Malonga-Hotel Oakland bloc strengthened through the mural’s development acquires political power that Wilkinson—using interviews and historical flashbacks about racist city planning practices and housing discrimination in Oakland—casts in a longer lineage of racial solidarity.\u003c/p>\n\u003cp>The goal of the new coalition isn’t immediately evident in the documentary. Theo Williams, leader of Malonga tenant SambaFunk, says at a meeting that he doesn’t necessarily oppose the development, yet no one in the film persuasively argues on its behalf. Complicating the narrative are new problems: Noise complaints resurface concerns about intolerant new neighbors to the Malonga, and the activists crash a city planning process, demanding meaningful representation.\u003c/p>\n\u003cfigure id=\"attachment_13875809\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg\" alt=\"The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts.\" width=\"1920\" height=\"1069\" class=\"size-full wp-image-13875809\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Diamano-Coura.photo-Spencer-1020x568.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The Diamano Coura West African Dance Company rehearses at the Malonga Casquelourd Center for the Arts. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Unsurprisingly for grassroots activism, it’s a dizzying cycle of setback and success. A subplot about Jerry Brown’s early 2000s attempt as Oakland mayor to shutter what was then the Alice Arts Center is a welcome rejoinder to recent hagiography, but it creates some narrative whiplash. Still, the story regains focus when the coalition formally appeals the building’s planning commission approval in order to negotiate a community benefits agreement with the developer.\u003c/p>\n\u003cp>The coalition secured funds for the Malonga and for a replacement mural (now being designed for the wall of the Greenlining Institute nearby). It also modeled a strategy since used by the coalition to extract concessions from developers worth an estimated $20 million, organizer Eric Arnold says in the film—including 90 affordable homes. With this tactic the same activists \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently won\u003c/a> a raft of benefits for arts groups in the Kaiser Convention Center redevelopment.\u003c/p>\n\u003cp>“Resilience” is too often a buzzword that serves to normalize communities’ capacity to withstand abuse, especially from the mouths of powerful people in media and politics. It’s also too flat for the dynamic artist-activists shown in \u003cem>Alice Street\u003c/em>, who dance in the streets and navigate city bureaucracy with equal verve. “And then we marched over to the planning office,” recalls Arnold of one decisive action. “It was probably the first time they’ve heard music inside of that office.”\u003c/p>\n\u003cfigure id=\"attachment_13875810\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg\" alt=\"The 'Universal Language' mural is today completely obscured by a housing development.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13875810\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Mural-Construction-photo-Spencer-1020x574.jpg 1020w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The ‘Universal Language’ mural is today completely obscured by a housing development. \u003ccite>(Spencer Wilkinson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inevitably some of the story lines in \u003cem>Alice Street\u003c/em> go unresolved. The cultural stabilization strategies in the Downtown Oakland Specific Plan published last year derive partly from activism shown in the film, but supporters are \u003ca href=\"https://www.kqed.org/arts/13866026/will-oaklands-new-plan-to-protect-downtown-arts-and-culture-succeed\">disappointed\u003c/a> with what little officials have done to enact them. Likewise, tenants of the city-owned Malonga continue to feel chronically neglected, with Williams of SambaFunk recently \u003ca href=\"https://www.kqed.org/arts/13875113/oakland-appoints-cultural-affairs-commissioners\">telling KQED\u003c/a> its problems haven’t changed since 1998.\u003c/p>\n\u003cp>Still, the documentary also captures a heartening generational shift. Standout interviewees Beckford and Michael Lange, the actor and director, died before the film’s completion, but \u003cem>Alice Street\u003c/em> shows their commitment to Oakland’s cultural life enduring in Lailan Sandra Huen, Anyka Barber, Casquelourd’s son Kiazi Malonga and others. Wilkinson, meanwhile, is developing educational curriculum to promote the community benefits agreement model beyond Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland Appoints Cultural Affairs Commissioners After Nine-Year Hiatus",
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"content": "\u003cp>Oakland City Council voted Tuesday to approve the appointment of 11 people to the city’s long-dormant Cultural Affairs Commission. [aside postID=arts_13861153,arts_13873207,arts_13866026]\u003c/p>\n\u003cp>The commission, inactive since 2011, will advise city officials on policy affecting the arts, and advocate for the Cultural Funding Program (CFP), which awards $1 million to local artists and nonprofits annually. Its revival marks another step in the city’s fitful efforts to buoy the arts. \u003c/p>\n\u003cp>The appointees are working artists, nonprofit professionals and policy experts including Theo “Aytchan” Williams, director of Carnaval arts group SambaFunk; Jennifer Easton, public art director at Bay Area Rapid Transit; Diane Sanchez, a philanthropy consultant; and Kevin “Kev” Choice, an educator and musician who’s worked with Goapele and Lauryn Hill. (Full list below.) \u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf praised the new commissioners and their connections to the city. “The importance of arts and culture in creating a vibrant and just city is shown by the breadth of experience of the commission members who are dancers, musicians, curators, cultural strategists, educators, non-profit administrators, lawyers, publishers, writers, storytellers, community organizers and civil engineers,” she said in a statement.\u003c/p>\n\u003cp>Williams of SambaFunk, one of the Afro-diasporic dance and drumming organizations based in the city-owned Malonga Casquelourd Center for the Arts, said he’s pleased to represent performing arts often overlooked next to ballet and the symphony. Like most local arts figures with an eye on City Hall, Williams also sees a gap to close between officials’ praise of Oakland’s cultural life and investment in its perseverance. “So the main thing is more funding,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This conversation is old,” Williams added. “We have a document from ’98 about the woes of the Malonga, what was then the Alice Arts Center, and they’re almost verbatim the same as now.”\u003c/p>\n\u003cp>The commission is an unpaid one- to three-year position, and appointees are ineligible for CFP grants during their tenure. Commissioner Charmin Roundtree-Baaqee also serves on the Public Art Advisory Committee. A total of 93 people applied for the post, according to a staff report, and council members approved Schaaf’s 11 appointments Tuesday night. \u003c/p>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager since 2016, calls the commissioners “ambassadors and advocates,” describing their role as drumming up support for and illustrating the value of the Cultural Funding Program. In 2018, Oakland \u003ca href=\"https://www.kqed.org/arts/13827589/oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years\">adopted\u003c/a> a Cultural Plan for alleviating cost-of-living pressures on local artists and sustaining community identity, but city officials have not provided funding significant enough to enact most of its recommendations. \u003c/p>\n\u003cp>CFP staff is struggling under increased demand for grants. The number of applications rose 25 percent between 2018 and 2019 to a total of 171, CFP records show. Partly due to the mounting workload, with only a few staffers administering a multi-step ranking and approval process, this year sees the art-in-schools grant category temporarily suspended. According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is half of what it was in 2001. \u003c/p>\n\u003cp>And it’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrinking\u003c/a>: A onetime $230,000 nudge to the CFP budget from 2017 lapses this year, resulting in an expected 17 percent reduction. A $100,000 murals set-aside from 2017 also recently disappeared before it could be spent, Bedoya said at a recent committee hearing, due to anticipated revenue shortfalls after council members reduced cannabis taxes. “If I can have commissioners call up and say, ‘Gimme back that money,’ it would help a lot,” Bedoya said. \u003c/p>\n\u003cp>The Cultural Funding Program regularly supports organizations such as Creative Growth, The Crucible, Oakland Ballet, Ubuntu Theater Project and Pro Arts as well as individual artists such as Karen Smith, the subject of a recent \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">profile\u003c/a> for \u003ca href=\"https://www.kqed.org/thehustle\" rel=\"noopener noreferrer\" target=\"_blank\">The Hustle\u003c/a>, KQED’s series about artists and money. One storyline in Tommy Orange’s acclaimed 2018 novel \u003cem>There, There\u003c/em> draws on the author’s CFP-supported oral history project. \u003c/p>\n\u003cp>The Cultural Affairs Commission appointees are: \u003c/p>\n\u003cp>Roy Chan, Community planning manager at the Chinatown Community Development Center\u003c/p>\n\u003cp>Jennifer Easton, Public art director at San Francisco Bay Area Rapid Transit \u003c/p>\n\u003cp>Michael Orange, Founding director of Matatu\u003c/p>\n\u003cp>Vanessa Whang, Lead consultant on the Cultural Plan \u003c/p>\n\u003cp>Kevin “Kev” Choice, Music instructor at Oakland School for the Arts \u003c/p>\n\u003cp>JK Fowler, Founder and executive director of Nomadic Press\u003c/p>\n\u003cp>Michelle Lee, Founder of Whole Story Group \u003c/p>\n\u003cp>Diane Sanchez, Philanthropy consultant \u003c/p>\n\u003cp>Richard Raya, Legal educator at Centro Legal de la Raza \u003c/p>\n\u003cp>Charmin Roundtree-Baaqee, Founder of Art is Luv \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Theo “Aytchan” Williams, Director of SambaFunk \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland City Council voted Tuesday to approve the appointment of 11 people to the city’s long-dormant Cultural Affairs Commission. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The commission, inactive since 2011, will advise city officials on policy affecting the arts, and advocate for the Cultural Funding Program (CFP), which awards $1 million to local artists and nonprofits annually. Its revival marks another step in the city’s fitful efforts to buoy the arts. \u003c/p>\n\u003cp>The appointees are working artists, nonprofit professionals and policy experts including Theo “Aytchan” Williams, director of Carnaval arts group SambaFunk; Jennifer Easton, public art director at Bay Area Rapid Transit; Diane Sanchez, a philanthropy consultant; and Kevin “Kev” Choice, an educator and musician who’s worked with Goapele and Lauryn Hill. (Full list below.) \u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf praised the new commissioners and their connections to the city. “The importance of arts and culture in creating a vibrant and just city is shown by the breadth of experience of the commission members who are dancers, musicians, curators, cultural strategists, educators, non-profit administrators, lawyers, publishers, writers, storytellers, community organizers and civil engineers,” she said in a statement.\u003c/p>\n\u003cp>Williams of SambaFunk, one of the Afro-diasporic dance and drumming organizations based in the city-owned Malonga Casquelourd Center for the Arts, said he’s pleased to represent performing arts often overlooked next to ballet and the symphony. Like most local arts figures with an eye on City Hall, Williams also sees a gap to close between officials’ praise of Oakland’s cultural life and investment in its perseverance. “So the main thing is more funding,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This conversation is old,” Williams added. “We have a document from ’98 about the woes of the Malonga, what was then the Alice Arts Center, and they’re almost verbatim the same as now.”\u003c/p>\n\u003cp>The commission is an unpaid one- to three-year position, and appointees are ineligible for CFP grants during their tenure. Commissioner Charmin Roundtree-Baaqee also serves on the Public Art Advisory Committee. A total of 93 people applied for the post, according to a staff report, and council members approved Schaaf’s 11 appointments Tuesday night. \u003c/p>\n\u003cp>Roberto Bedoya, Oakland’s cultural affairs manager since 2016, calls the commissioners “ambassadors and advocates,” describing their role as drumming up support for and illustrating the value of the Cultural Funding Program. In 2018, Oakland \u003ca href=\"https://www.kqed.org/arts/13827589/oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years\">adopted\u003c/a> a Cultural Plan for alleviating cost-of-living pressures on local artists and sustaining community identity, but city officials have not provided funding significant enough to enact most of its recommendations. \u003c/p>\n\u003cp>CFP staff is struggling under increased demand for grants. The number of applications rose 25 percent between 2018 and 2019 to a total of 171, CFP records show. Partly due to the mounting workload, with only a few staffers administering a multi-step ranking and approval process, this year sees the art-in-schools grant category temporarily suspended. According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is half of what it was in 2001. \u003c/p>\n\u003cp>And it’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">shrinking\u003c/a>: A onetime $230,000 nudge to the CFP budget from 2017 lapses this year, resulting in an expected 17 percent reduction. A $100,000 murals set-aside from 2017 also recently disappeared before it could be spent, Bedoya said at a recent committee hearing, due to anticipated revenue shortfalls after council members reduced cannabis taxes. “If I can have commissioners call up and say, ‘Gimme back that money,’ it would help a lot,” Bedoya said. \u003c/p>\n\u003cp>The Cultural Funding Program regularly supports organizations such as Creative Growth, The Crucible, Oakland Ballet, Ubuntu Theater Project and Pro Arts as well as individual artists such as Karen Smith, the subject of a recent \u003ca href=\"https://www.kqed.org/arts/13873207/the-hustle-karen-smith-metalsmith-oakland\">profile\u003c/a> for \u003ca href=\"https://www.kqed.org/thehustle\" rel=\"noopener noreferrer\" target=\"_blank\">The Hustle\u003c/a>, KQED’s series about artists and money. One storyline in Tommy Orange’s acclaimed 2018 novel \u003cem>There, There\u003c/em> draws on the author’s CFP-supported oral history project. \u003c/p>\n\u003cp>The Cultural Affairs Commission appointees are: \u003c/p>\n\u003cp>Roy Chan, Community planning manager at the Chinatown Community Development Center\u003c/p>\n\u003cp>Jennifer Easton, Public art director at San Francisco Bay Area Rapid Transit \u003c/p>\n\u003cp>Michael Orange, Founding director of Matatu\u003c/p>\n\u003cp>Vanessa Whang, Lead consultant on the Cultural Plan \u003c/p>\n\u003cp>Kevin “Kev” Choice, Music instructor at Oakland School for the Arts \u003c/p>\n\u003cp>JK Fowler, Founder and executive director of Nomadic Press\u003c/p>\n\u003cp>Michelle Lee, Founder of Whole Story Group \u003c/p>\n\u003cp>Diane Sanchez, Philanthropy consultant \u003c/p>\n\u003cp>Richard Raya, Legal educator at Centro Legal de la Raza \u003c/p>\n\u003cp>Charmin Roundtree-Baaqee, Founder of Art is Luv \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Theo “Aytchan” Williams, Director of SambaFunk \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13874888\" class=\"wp-caption alignnone\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg\" alt=\"Fredrika and Huey P. Newton on their wedding day.\" width=\"792\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-768x993.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika and Huey P. Newton on their wedding day. \u003ccite>(Courtesy of the De Young Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fredrika Newton met her late husband, Huey P. Newton, co-founder of the Black Panther Party for Self Defense, when she was a college student. From that chance meeting, came a relationship for the history books.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week Fredrika shares what it’s like to love one of America’s most notable activists and what it’s like to love Huey, the man behind the symbol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fredrika carries Huey’s legacy as the president of the \u003c/span>\u003ca href=\"https://hueypnewtonfoundation.org/\">\u003cspan style=\"font-weight: 400\">Huey P. Newton foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which is currently in the process of creating a Black Panther Museum. She’s also working on building a permanent public monument in Oakland dedicated to the legacy of Huey P. Newton. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the three decades since Huey’s death, Fredrika has gained lots of wisdom about healing and growth. She also tells us how she’s just learning to love again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s to love, revolution and evolution.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/DSC8029-800x535.jpg\" alt=\"Fredrika Newton\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika Newton \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Portions of this interview have been edited for length and clarity. \u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On The Night They Met\u003c/b>\u003cbr>\nI met him at my mother’s house. My mother was a real estate broker for the Black Panther Party. It was packed, full of young students, activists, some Panthers. All these people were asking him a lot of questions about these kinds of deep, intellectual, academic, esoteric questions. It came time for me to ask him a question, I just asked him, “So what was it like in prison?” He put down his fork, and he stopped. And he thought, and he looked at me in the eyes, and he said it was very lonely. And it was something in that connection. His vulnerability and his thoughtfulness and his quietness, that just kind of captivated me. The rest is history.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Their Song\u003c/b>\u003cbr>\nHuey loved Isaac Hayes. “I Stand Accused.” Are you kidding me? That album. And back then that the speakers were like this big, and he had four of them. They were huge.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Maintaining a Healthy Relationship While Combating Oppression \u003c/b>\u003cbr>\nIt’s like being in a foxhole together. Everything is intense. Everything is immediate. I think that a lot of relationships were sacrificed. It gave new meaning to stay in the day. You didn’t know if you’d have another day. So relationships were intense.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Her Definition of Love\u003c/b>\u003cbr>\nI know that love is not just a feeling and that it’s an action in terms of your community. I think that what we did in the Party, was just such a definition of love. It’s just an ultimate example of undying love for their community.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>To learn more, \u003ca href=\"https://deyoung.famsf.org/calendar/conversation-fredrika-newton-lynnee-denise-cultural-resonance-dr-huey-p-newton\">join Fredrika Newton at the De Young Museum Saturday, February 15th\u003c/a>. She will be in conversation about Huey, their activism, their life together and his legacy. It’s part of the “Soul of a Nation” show on now at the museum.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13874888\" class=\"wp-caption alignnone\" style=\"max-width: 792px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874888\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg\" alt=\"Fredrika and Huey P. Newton on their wedding day.\" width=\"792\" height=\"1024\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1.jpg 792w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-160x207.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/Love-Story_-Fredrika-Dr1024_4-1-768x993.jpg 768w\" sizes=\"(max-width: 792px) 100vw, 792px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika and Huey P. Newton on their wedding day. \u003ccite>(Courtesy of the De Young Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fredrika Newton met her late husband, Huey P. Newton, co-founder of the Black Panther Party for Self Defense, when she was a college student. From that chance meeting, came a relationship for the history books.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This week Fredrika shares what it’s like to love one of America’s most notable activists and what it’s like to love Huey, the man behind the symbol. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fredrika carries Huey’s legacy as the president of the \u003c/span>\u003ca href=\"https://hueypnewtonfoundation.org/\">\u003cspan style=\"font-weight: 400\">Huey P. Newton foundation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which is currently in the process of creating a Black Panther Museum. She’s also working on building a permanent public monument in Oakland dedicated to the legacy of Huey P. Newton. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the three decades since Huey’s death, Fredrika has gained lots of wisdom about healing and growth. She also tells us how she’s just learning to love again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s to love, revolution and evolution.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13874736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/DSC8029-800x535.jpg\" alt=\"Fredrika Newton\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/DSC8029.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fredrika Newton \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ci data-stringify-type=\"italic\">Portions of this interview have been edited for length and clarity. \u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On The Night They Met\u003c/b>\u003cbr>\nI met him at my mother’s house. My mother was a real estate broker for the Black Panther Party. It was packed, full of young students, activists, some Panthers. All these people were asking him a lot of questions about these kinds of deep, intellectual, academic, esoteric questions. It came time for me to ask him a question, I just asked him, “So what was it like in prison?” He put down his fork, and he stopped. And he thought, and he looked at me in the eyes, and he said it was very lonely. And it was something in that connection. His vulnerability and his thoughtfulness and his quietness, that just kind of captivated me. The rest is history.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Their Song\u003c/b>\u003cbr>\nHuey loved Isaac Hayes. “I Stand Accused.” Are you kidding me? That album. And back then that the speakers were like this big, and he had four of them. They were huge.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Maintaining a Healthy Relationship While Combating Oppression \u003c/b>\u003cbr>\nIt’s like being in a foxhole together. Everything is intense. Everything is immediate. I think that a lot of relationships were sacrificed. It gave new meaning to stay in the day. You didn’t know if you’d have another day. So relationships were intense.\u003c/p>\n\u003cp>\u003cb data-stringify-type=\"bold\">On Her Definition of Love\u003c/b>\u003cbr>\nI know that love is not just a feeling and that it’s an action in terms of your community. I think that what we did in the Party, was just such a definition of love. It’s just an ultimate example of undying love for their community.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>To learn more, \u003ca href=\"https://deyoung.famsf.org/calendar/conversation-fredrika-newton-lynnee-denise-cultural-resonance-dr-huey-p-newton\">join Fredrika Newton at the De Young Museum Saturday, February 15th\u003c/a>. She will be in conversation about Huey, their activism, their life together and his legacy. It’s part of the “Soul of a Nation” show on now at the museum.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "a-mural-of-tom-hanks-and-too-short-in-oakland-goes-deeper-than-paint",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n",
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"excerpt": "A mural in Oakland of the actor and rapper together was painted over in a matter of days—and it turns out there's a reason.",
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"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint | KQED",
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"headline": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago, filmmaker Danielle Thompson and her family were evicted from their home in Oakland and moved to Pittsburg, a city 40 miles away. Using that experience as fuel, Danielle produced her first documentary film, \u003ca href=\"https://youthbeat.org/displaced\">Displaced\u003c/a>.\u003c/p>\n\u003cp>Danielle spends countless hours commuting each week because she’s working toward a communications degree at Hayward’s Cal State East Bay while holding down a job in Oakland.\u003c/p>\n\u003cp>She’s an instructor at Youth Beat, a nonprofit that shows young people the ropes in the world of media making. Danielle first connected with the program as a teenager, and now she’s working to give back to the organization that introduced her to filmmaking.\u003c/p>\n\u003cp>Inside the studios at Youth Beat’s headquarters, Danielle and I discussed her film, gentrification in Oakland and how she hopes her career will one day bring in enough financial resources to allow her to move back to her hometown.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few years ago, filmmaker Danielle Thompson and her family were evicted from their home in Oakland and moved to Pittsburg, a city 40 miles away. Using that experience as fuel, Danielle produced her first documentary film, \u003ca href=\"https://youthbeat.org/displaced\">Displaced\u003c/a>.\u003c/p>\n\u003cp>Danielle spends countless hours commuting each week because she’s working toward a communications degree at Hayward’s Cal State East Bay while holding down a job in Oakland.\u003c/p>\n\u003cp>She’s an instructor at Youth Beat, a nonprofit that shows young people the ropes in the world of media making. Danielle first connected with the program as a teenager, and now she’s working to give back to the organization that introduced her to filmmaking.\u003c/p>\n\u003cp>Inside the studios at Youth Beat’s headquarters, Danielle and I discussed her film, gentrification in Oakland and how she hopes her career will one day bring in enough financial resources to allow her to move back to her hometown.\u003c/p>\n\u003cp>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The golden age of Blue Note Records produced some of the most enduring jazz styles of the 20th century. Chief among them was a sound known as hard bop—an approach that took the innovations of Charlie Parker and Dizzy Gillespie and gave them a slower but more biting edge. One of the best groups performing this style today comes to Oakland this week: The Cookers, named after a 1965 Blue Note album. This is an all-star lineup of players who’ve straddled the avant-garde, like Billy Harper and Billy Hart, and even New Orleans music, like Donald Harrison. Which is to say they take the music in inspiring new directions every time they perform. I’ve seen them twice and they are simply an incomparable force. The Cookers play on Thursday, Feb. 20, at Yoshi’s in Oakland.—\u003cem>Gabe Meline\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>The golden age of Blue Note Records produced some of the most enduring jazz styles of the 20th century. Chief among them was a sound known as hard bop—an approach that took the innovations of Charlie Parker and Dizzy Gillespie and gave them a slower but more biting edge. One of the best groups performing this style today comes to Oakland this week: The Cookers, named after a 1965 Blue Note album. This is an all-star lineup of players who’ve straddled the avant-garde, like Billy Harper and Billy Hart, and even New Orleans music, like Donald Harrison. Which is to say they take the music in inspiring new directions every time they perform. I’ve seen them twice and they are simply an incomparable force. The Cookers play on Thursday, Feb. 20, at Yoshi’s in Oakland.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>State Sen. Nancy Skinner on Monday introduced legislation designed to promote safety in California live-work and warehouse residences while protecting tenants from displacement. [aside postID=news_11764921]\u003c/p>\n\u003cp>\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201920200SB906\" target=\"_blank\" rel=\"noopener noreferrer\">Senate Bill 906\u003c/a>, co-sponsored by the City of Oakland, would give property owners more time to correct non-life-threatening violations that could otherwise motivate them to evict tenants, and also update state live-work code that effectively outlaws many communal residences.\u003c/p>\n\u003cp>The legislation aims to support live-work and warehouse residences popular among artists and musicians. The Dec. 2016 Ghost Ship fire that killed 36 at an unpermitted warehouse venue and residence in East Oakland brought intense scrutiny to such alternative cohousing spaces, prompting many property owners to displace tenants instead of addressing substandard conditions.\u003c/p>\n\u003cp>Skinner, who represents the 9th Senate District in the East Bay, said in a statement that current law gives California cities little flexibility to work with property owners and tenants in such situations. Officials often have a difficult choice between red-tagging buildings, forcing eviction; mandating upgrades that render the housing unaffordable for current tenants; or ignoring potentially hazardous conditions. \u003c/p>\n\u003cp>“California’s housing crisis demands that we give cities the tools they need to protect existing housing while making it safer, especially live-work and warehouse spaces,” Skinner said. “SB 906 is a necessary tool to protect and retain live-work and warehouse residences.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf and Oakland City Council President Rebecca Kaplan also offered statements supporting the legislation for fostering collaboration between city officials and property owners. This legislation, if passed, could help continue Oakland’s legacy of communal artist housing and workspace. \u003c/p>\n\u003cp>The proposed bill amends one section of California’s health and safety code and adds another. \u003c/p>\n\u003cp>The amendment removes what Skinner and live-work advocates call a woefully outdated restriction on the number of residents allowed to share “joint living and working quarters” (currently, four unrelated persons). The addition allows owners of buildings deemed code-deficient to request an enforcement delay of as many as seven years if the violations don’t threaten building occupants’ health and safety.\u003c/p>\n\u003cp>Oakland live-work architect Thomas Dolan, who co-founded the advocacy group \u003ca href=\"https://saferdiyspaces.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Safer DIY Spaces\u003c/a> after the Ghost Ship fire, said in an interview that removing the state limit on live-work residents would help clear a path to legalization for many spaces he’s visited as a consultant. \u003c/p>\n\u003cp>However, Dolan also urged Oakland city officials to reinstate a more comprehensive municipal live-work code they removed after the Ghost Ship fire; Dolan helped author the code. “That’s putting a dead stop on DIY’s ability to do its job,” he said of its removal. \u003c/p>\n\u003cp>[aside link1='https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins,Evictions, Ghost Ship Fire Pushed Oakland Artists to Margins']\u003c/p>\n\u003cp>Currently any live-work space with more than four residents must pursue a conditional-use permit to exceed the state limit, an expensive and costly process with no guarantee of success. Safer DIY Spaces director David Keenan said such a permit should be unnecessary: “It should be by-right, if we believe housing is a human right.” \u003c/p>\n\u003cp>Dolan also supports SB 906’s efforts to ease the way for property owners to correct non-life-threatening building violations for the sake of retaining affordable housing for current tenants. Oakland already has a similarly aimed “compliance plan” program, he pointed out, that would be strengthened in tenants’ favor by increasing the amount of time property owners have to address violations.\u003c/p>\n\u003cp>Dolan points out that the legislation doesn’t draw a clear distinction between habitability issues, for example, a window slightly narrower than modern building standards require, and immediate life-safety risks. “Life safety no one should compromise on—that needs immediate addressing,” Dolan said. “But the nuance between that and a habitability shortcoming is being overlooked here.”\u003c/p>\n\u003cp>Oakland is recognized as a hub of commercial and warehouse property adapted by artists for residential, performance and fabrication purposes. But climbing rent and competition for commercial space have in recent years threatened the often unspoken agreements between landlords and residential tenants of buildings not technically approved or suitable for residential habitation. \u003c/p>\n\u003cp>The Dec. 2016 Ghost Ship warehouse fire, which broke out during an electronic music event, intensified pressure on unpermitted live-work and warehouse residences. Oakland officials identified unpermitted residences and instructed many owners to “discontinue residential use,” even in the absence of life-threatening conditions. Other property owners moved to evict warehouse tenants proactively amid the possibility of civil liability for Ghost Ship’s landlord, Chor Ng.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oakland has a long and proud history of fostering affordable joint living and work spaces, especially for our vibrant arts and maker communities,” Schaaf, the mayor of Oakland, said in a statement. “But as a city, we must also ensure that people have safe, affordable housing, and are not forced onto the streets and into homelessness.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf and Oakland City Council President Rebecca Kaplan also offered statements supporting the legislation for fostering collaboration between city officials and property owners. This legislation, if passed, could help continue Oakland’s legacy of communal artist housing and workspace. \u003c/p>\n\u003cp>The proposed bill amends one section of California’s health and safety code and adds another. \u003c/p>\n\u003cp>The amendment removes what Skinner and live-work advocates call a woefully outdated restriction on the number of residents allowed to share “joint living and working quarters” (currently, four unrelated persons). The addition allows owners of buildings deemed code-deficient to request an enforcement delay of as many as seven years if the violations don’t threaten building occupants’ health and safety.\u003c/p>\n\u003cp>Oakland live-work architect Thomas Dolan, who co-founded the advocacy group \u003ca href=\"https://saferdiyspaces.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Safer DIY Spaces\u003c/a> after the Ghost Ship fire, said in an interview that removing the state limit on live-work residents would help clear a path to legalization for many spaces he’s visited as a consultant. \u003c/p>\n\u003cp>However, Dolan also urged Oakland city officials to reinstate a more comprehensive municipal live-work code they removed after the Ghost Ship fire; Dolan helped author the code. “That’s putting a dead stop on DIY’s ability to do its job,” he said of its removal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currently any live-work space with more than four residents must pursue a conditional-use permit to exceed the state limit, an expensive and costly process with no guarantee of success. Safer DIY Spaces director David Keenan said such a permit should be unnecessary: “It should be by-right, if we believe housing is a human right.” \u003c/p>\n\u003cp>Dolan also supports SB 906’s efforts to ease the way for property owners to correct non-life-threatening building violations for the sake of retaining affordable housing for current tenants. Oakland already has a similarly aimed “compliance plan” program, he pointed out, that would be strengthened in tenants’ favor by increasing the amount of time property owners have to address violations.\u003c/p>\n\u003cp>Dolan points out that the legislation doesn’t draw a clear distinction between habitability issues, for example, a window slightly narrower than modern building standards require, and immediate life-safety risks. “Life safety no one should compromise on—that needs immediate addressing,” Dolan said. “But the nuance between that and a habitability shortcoming is being overlooked here.”\u003c/p>\n\u003cp>Oakland is recognized as a hub of commercial and warehouse property adapted by artists for residential, performance and fabrication purposes. But climbing rent and competition for commercial space have in recent years threatened the often unspoken agreements between landlords and residential tenants of buildings not technically approved or suitable for residential habitation. \u003c/p>\n\u003cp>The Dec. 2016 Ghost Ship warehouse fire, which broke out during an electronic music event, intensified pressure on unpermitted live-work and warehouse residences. Oakland officials identified unpermitted residences and instructed many owners to “discontinue residential use,” even in the absence of life-threatening conditions. Other property owners moved to evict warehouse tenants proactively amid the possibility of civil liability for Ghost Ship’s landlord, Chor Ng.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oakland has a long and proud history of fostering affordable joint living and work spaces, especially for our vibrant arts and maker communities,” Schaaf, the mayor of Oakland, said in a statement. “But as a city, we must also ensure that people have safe, affordable housing, and are not forced onto the streets and into homelessness.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"order": 9
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"id": "fresh-air",
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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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"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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"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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"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",
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"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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"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.",
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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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"order": 11
},
"link": "/podcasts/onourwatch",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
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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.",
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"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",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
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"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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},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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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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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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