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"content": "\u003cp>\u003cem>Note: This episode originally aired March 17, 2019\u003c/em>\u003c/p>\n\u003cp>Shy’an G’s music is like listening to an open diary entry.\u003c/p>\n\u003cp>Shy’an, an East Bay native, says her style of writing dates back to the time she stole her sister’s copy of Tupac’s \u003cem>All Eyez on Me\u003c/em>.\u003c/p>\n\u003cp>The short version is that she sat under the jungle gym on the playground while listening to the album on a Discman, penning her own rhymes, and she hasn’t stopped since.\u003c/p>\n\u003cfigure id=\"attachment_13853017\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853017\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg\" alt=\"Cover detail from Shy'an'G's new album, 'The Reset.'\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/ShyanG.Rightnowish.MAIN_.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover detail from Shy’an’G’s new album, ‘The Reset.’ \u003ccite>(Shyan'G)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The longer, more nuanced version is the story of a young woman who honed her craft and has used it to navigate all that life has thrown at her, from educational hurdles to unsavory roommates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Writing and family have been Shy’an’s support system through it all. As an ode to her support system, she recently dropped \u003cem>\u003ca href=\"https://soundcloud.com/shyan-g/sets/the-reset\">The Reset\u003c/a>\u003c/em>, her second studio project. For this week’s episode of \u003cem>Rightnowish\u003c/em>, I chopped it up with her about the project, which highlights family, writing and taking a moment to realize you’ve made it through some trials.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click the audio link above to check it out.\u003c/p>\n\n",
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"content": "\u003cp>Miko Marks has toured the United States as a country singer for over a decade. She started as an aspiring singer in Michigan, crossed paths with Erykah Badu while in college, and won awards for her singing as a young adult. But recently, through her time skating with the \u003ca href=\"https://www.instagram.com/oaklandrollers/?hl=en\" target=\"_blank\" rel=\"noopener\">Oakland Rollers\u003c/a>, she’s begun to explore other musical genres. Inspired by the group’s camaraderie, shared laughter, bright skates and fanny packs, Marks found inspiration for her latest song, “\u003ca href=\"http://smarturl.it/wq990a\" target=\"_blank\" rel=\"noopener\">Roll Out\u003c/a>.”\u003c/p>\n\u003cp>“Happiness is in the air / good vibes are floating ’round / and whenever I see the sun out shining bright / I throw on my wheels / I got to get out,” sings Marks over the groove-heavy track produced by \u003ca href=\"https://www.kqed.org/arts/13812001/behind-the-beats-julia-lewis\" rel=\"noopener\" target=\"_blank\">Julia Lewis\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13860033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg\" alt=\"The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marks’ summertime song served as an anthem for the lakeside skaters, and made me curious about what’s going on in her niche of the Bay Area. So I met her and her crew over at a cul-de-sac on the southeastern side of Lake Merritt, and got to know a little bit more about Miko, her musical history and the roller skaters who have made the lakeside their rink.\u003c/span>\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Miko Marks has toured the United States as a country singer for over a decade. She started as an aspiring singer in Michigan, crossed paths with Erykah Badu while in college, and won awards for her singing as a young adult. But recently, through her time skating with the \u003ca href=\"https://www.instagram.com/oaklandrollers/?hl=en\" target=\"_blank\" rel=\"noopener\">Oakland Rollers\u003c/a>, she’s begun to explore other musical genres. Inspired by the group’s camaraderie, shared laughter, bright skates and fanny packs, Marks found inspiration for her latest song, “\u003ca href=\"http://smarturl.it/wq990a\" target=\"_blank\" rel=\"noopener\">Roll Out\u003c/a>.”\u003c/p>\n\u003cp>“Happiness is in the air / good vibes are floating ’round / and whenever I see the sun out shining bright / I throw on my wheels / I got to get out,” sings Marks over the groove-heavy track produced by \u003ca href=\"https://www.kqed.org/arts/13812001/behind-the-beats-julia-lewis\" rel=\"noopener\" target=\"_blank\">Julia Lewis\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13860033\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13860033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg\" alt=\"The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/oakland-rollers.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Rollers meet up on Wednesdays at Lake Merritt, and everyone is welcome. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Marks’ summertime song served as an anthem for the lakeside skaters, and made me curious about what’s going on in her niche of the Bay Area. So I met her and her crew over at a cul-de-sac on the southeastern side of Lake Merritt, and got to know a little bit more about Miko, her musical history and the roller skaters who have made the lakeside their rink.\u003c/span>\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "MADlines brings 'God Talk' to Downtown Oakland",
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"content": "\u003cp>\u003ca href=\"https://www.facebook.com/MADlinesmusic/\" target=\"_blank\" rel=\"noopener\">MADlines\u003c/a>, an MC and educator originally from Seattle, Washington, has called East Oakland home for almost a decade, working in the community as well as in San Francisco’s Juvenile Hall. Those experiences, as well as headlines about infant mortality rates and police brutality—especially the killing of \u003ca href=\"https://www.npr.org/tags/769902235/atatiana-jefferson\" target=\"_blank\" rel=\"noopener\">Atatiana Jefferson—\u003c/a>have inspired her latest video, “God Talk.”\u003c/p>\n\u003cp>“I’m a deity, the birds envy me. Lips is sweet, divinity,” MADlines raps on the chorus of the new track, which features the Bay Area’s own \u003ca href=\"https://xiomaramusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Xiomara\u003c/a>. She premieres the video, shot by Emmy-nominated producer \u003ca href=\"http://www.contessagayles.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Contessa Gayles\u003c/a>, in an event on Nov. 8 at Bandcamp’s headquarters in downtown Oakland.\u003c/p>\n\u003cp>“Black women do want to be vulnerable,” says MADlines. “But it’s hard to walk in the world without armor.”\u003c/p>\n\u003cp>This is the first feature off of an album MADlines plans to drop in the summer of 2020, made possible in part by the City of Oakland’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\" target=\"_blank\" rel=\"noopener\">Individual Artist Grant Program\u003c/a>.\u003c/p>\n\u003cp>MADlines says the driving concept behind her Nov. 8 performance is related to other arts projects in the Bay Area, such as \u003ca href=\"https://www.kqed.org/arts/12959678/a-house-full-of-black-women-a-week-of-rest\" target=\"_blank\" rel=\"noopener\">House/Full of BlackWomen\u003c/a>, \u003ca href=\"https://www.asharaekundayogallery.com/black-womxn-dreaming-divine-the-darkness-march-april-2019\" target=\"_blank\" rel=\"noopener\">Black Womxn Dreaming\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13806395/an-expanded-vision-of-healing-and-divine-black-femininity\" target=\"_blank\" rel=\"noopener\">The Black Woman is God\u003c/a>, which is curated by Karen Senefru, who makes a cameo in MADlines’ new video. “So, it’s not standing on its own,” says MADlines. “It’s a part of a larger push about the way we’re responding to society.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MADlines says the evening will be a celebration of black women’s divinity, as Oakland’s own \u003ca href=\"https://www.melissajonesartist.com/\" target=\"_blank\" rel=\"noopener\">Melissa Jones\u003c/a> will perform, along with \u003ca href=\"http://www.indigomateo.com/\" target=\"_blank\" rel=\"noopener\">Indigo Mateo\u003c/a>. The event starts at 6:30pm and is free for all ages. \u003ca href=\"https://www.eventbrite.com/e/contagious-spirit-god-talk-tickets-75964494849\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.facebook.com/MADlinesmusic/\" target=\"_blank\" rel=\"noopener\">MADlines\u003c/a>, an MC and educator originally from Seattle, Washington, has called East Oakland home for almost a decade, working in the community as well as in San Francisco’s Juvenile Hall. Those experiences, as well as headlines about infant mortality rates and police brutality—especially the killing of \u003ca href=\"https://www.npr.org/tags/769902235/atatiana-jefferson\" target=\"_blank\" rel=\"noopener\">Atatiana Jefferson—\u003c/a>have inspired her latest video, “God Talk.”\u003c/p>\n\u003cp>“I’m a deity, the birds envy me. Lips is sweet, divinity,” MADlines raps on the chorus of the new track, which features the Bay Area’s own \u003ca href=\"https://xiomaramusic.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Xiomara\u003c/a>. She premieres the video, shot by Emmy-nominated producer \u003ca href=\"http://www.contessagayles.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Contessa Gayles\u003c/a>, in an event on Nov. 8 at Bandcamp’s headquarters in downtown Oakland.\u003c/p>\n\u003cp>“Black women do want to be vulnerable,” says MADlines. “But it’s hard to walk in the world without armor.”\u003c/p>\n\u003cp>This is the first feature off of an album MADlines plans to drop in the summer of 2020, made possible in part by the City of Oakland’s \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\" target=\"_blank\" rel=\"noopener\">Individual Artist Grant Program\u003c/a>.\u003c/p>\n\u003cp>MADlines says the driving concept behind her Nov. 8 performance is related to other arts projects in the Bay Area, such as \u003ca href=\"https://www.kqed.org/arts/12959678/a-house-full-of-black-women-a-week-of-rest\" target=\"_blank\" rel=\"noopener\">House/Full of BlackWomen\u003c/a>, \u003ca href=\"https://www.asharaekundayogallery.com/black-womxn-dreaming-divine-the-darkness-march-april-2019\" target=\"_blank\" rel=\"noopener\">Black Womxn Dreaming\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13806395/an-expanded-vision-of-healing-and-divine-black-femininity\" target=\"_blank\" rel=\"noopener\">The Black Woman is God\u003c/a>, which is curated by Karen Senefru, who makes a cameo in MADlines’ new video. “So, it’s not standing on its own,” says MADlines. “It’s a part of a larger push about the way we’re responding to society.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>MADlines says the evening will be a celebration of black women’s divinity, as Oakland’s own \u003ca href=\"https://www.melissajonesartist.com/\" target=\"_blank\" rel=\"noopener\">Melissa Jones\u003c/a> will perform, along with \u003ca href=\"http://www.indigomateo.com/\" target=\"_blank\" rel=\"noopener\">Indigo Mateo\u003c/a>. The event starts at 6:30pm and is free for all ages. \u003ca href=\"https://www.eventbrite.com/e/contagious-spirit-god-talk-tickets-75964494849\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland native Timothy B. has been putting paint where it ain’t for some time now—and the center of his work is family.\u003c/p>\n\u003cp>He was born in 1992, the same year his father, Timothy Bluitt Sr., was sent to prison. A former high-ranking member of the East Oakland street organization the \u003ca href=\"https://en.wikipedia.org/wiki/Felix_Mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">69 Mob\u003c/a>, the elder Timothy served nearly a quarter century behind bars. During that time, Oakland changed a lot, and so did the Bluitt family: Timothy’s mom, Dana Bluitt, worked her ass off to make sure the family wasn’t broken, and instead, made uniquely strong.\u003c/p>\n\u003cp>Meanwhile, Timothy B. grew into an incredible artist.\u003c/p>\n\u003cfigure id=\"attachment_13868877\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg\" alt=\"Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \" width=\"640\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family-160x212.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \u003ccite>(Courtesy the Bluitt Family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April of this year, when Timothy B. and Natty Rebel of the \u003ca href=\"https://www.thebamp.org/\">Bay Area Mural Program\u003c/a> co-created a mural dedicated to the late rapper and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, the community came together in a way that’s rarely seen in the arts scene. On top of your usual artsy types, middle-aged folks broke stride in their jog to look at the piece, nonprofit workers in slacks got in glimpses as they went home from their jobs and former d-boys parked candy-coated muscle cars nearby to take flicks in front of the fresh paint.\u003c/p>\n\u003cfigure id=\"attachment_13868505\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg\" alt=\"Timothy B. and Natty Rebel of the Bay Area Mural Project\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. and Natty Rebel of the Bay Area Mural Project. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this week’s episode of \u003cem>Rightnowish\u003c/em>, I sat down with Timothy to talk about how Oakland is diverse, but it’s also very divided. How’d Timothy manage to bring out the different flavors of the community? What do his parents think about Timothy’s growth? What does the family’s story say about what’s going on right now … ish?\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland native Timothy B. has been putting paint where it ain’t for some time now—and the center of his work is family.\u003c/p>\n\u003cp>He was born in 1992, the same year his father, Timothy Bluitt Sr., was sent to prison. A former high-ranking member of the East Oakland street organization the \u003ca href=\"https://en.wikipedia.org/wiki/Felix_Mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">69 Mob\u003c/a>, the elder Timothy served nearly a quarter century behind bars. During that time, Oakland changed a lot, and so did the Bluitt family: Timothy’s mom, Dana Bluitt, worked her ass off to make sure the family wasn’t broken, and instead, made uniquely strong.\u003c/p>\n\u003cp>Meanwhile, Timothy B. grew into an incredible artist.\u003c/p>\n\u003cfigure id=\"attachment_13868877\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13868877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg\" alt=\"Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \" width=\"640\" height=\"849\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/TimothyB.Family-160x212.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Timothy Bluitt Sr., Dana Bluitt and Timothy Bluitt Jr. \u003ccite>(Courtesy the Bluitt Family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In April of this year, when Timothy B. and Natty Rebel of the \u003ca href=\"https://www.thebamp.org/\">Bay Area Mural Program\u003c/a> co-created a mural dedicated to the late rapper and entrepreneur \u003ca href=\"https://www.kqed.org/arts/13854043/when-nipsey-hussle-brought-his-marathon-mindset-to-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Nipsey Hussle\u003c/a>, the community came together in a way that’s rarely seen in the arts scene. On top of your usual artsy types, middle-aged folks broke stride in their jog to look at the piece, nonprofit workers in slacks got in glimpses as they went home from their jobs and former d-boys parked candy-coated muscle cars nearby to take flicks in front of the fresh paint.\u003c/p>\n\u003cfigure id=\"attachment_13868505\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg\" alt=\"Timothy B. and Natty Rebel of the Bay Area Mural Project\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/IMG_4611.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Timothy B. and Natty Rebel of the Bay Area Mural Project. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For this week’s episode of \u003cem>Rightnowish\u003c/em>, I sat down with Timothy to talk about how Oakland is diverse, but it’s also very divided. How’d Timothy manage to bring out the different flavors of the community? What do his parents think about Timothy’s growth? What does the family’s story say about what’s going on right now … ish?\u003c/p>\n\u003cp>Listen to this week’s episode to hear all about it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "pansy-twist-celebrates-the-possibilities-of-community-for-queer-rockers-and-artists",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland used to be the sort of city where two young, queer boys from Arizona and Alabama—incidentally also pen pals—could pack up and move. Once there, they’d make music, art and friends. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Artists Seth Bogart, raised in Arizona, and Brontez Purnell, Alabamian by birth, met on the message board of record label Kill Rock Stars and struck up a correspondence, mailing each other letters from their respective conservative home states. In the late 90s, Bogart moved to Oakland and in 2002, Purnell followed suit, soon joining Bogart’s electro-punk band \u003ca href=\"https://en.wikipedia.org/wiki/Gravy_Train!!!!\" rel=\"noopener\" target=\"_blank\">Gravy Train!!!!\u003c/a> About a decade later, Purnell met Jeff Cheung, who grew up in the East Bay, when Cheung performed with his own band Meat Market at the West Oakland warehouse where Purnell lived. (Purnell and Brontez were well known to Cheung; when the younger artist was in high school, he saw Gravy Train!!!! perform at San Francisco’s Bottom of the Hill.)\u003c/p>\n\u003cfigure id=\"attachment_13868820\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg\" alt=\"Brontez Purnell-made poster for 'Pansy Twist.'\" width=\"748\" height=\"960\" class=\"size-full wp-image-13868820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press-160x205.jpg 160w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell-made poster for ‘Pansy Twist.’ \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Friday all three multidisciplinary artists will show print, film and sculpture works at Oakland’s Johansson Projects under the banner \u003cem>\u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Pansy Twist: An Incomplete Survey/Mixtape of Contemporary Riot Boi Art\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>“I don’t know too many places that have this many [queer] rockers who also share in community and whose voices are distinctly in conversation with each other,” Purnell says of the city that brought the three of them together. \u003c/p>\n\u003cp>“It was kind of a different place back then,” Bogart tells me over the phone from Los Angeles, his home base since 2011. “It was a lot more affordable and you could have a $300 rent if you lived with people.” \u003c/p>\n\u003cp>Today, it’s hard to say if Oakland is the sort of place that offers the same possibilities of community and convergence it did even just five years ago. What connections have forged in the waves of new residents recently arrived to town? How much has been lost along with those who were priced out of their homes? When did this attrition start? Such questions loom large for those invested in Oakland’s cultural identity—but on Friday night, the focus will be on the lovingly entangled webs Bogart, Purnell and Cheung have spun. \u003c/p>\n\u003cp>Since their respective arrivals to Oakland, Bogart and Purnell have forged careers in music and art, making waves far beyond the Bay Area. Alongside his ongoing musical project, \u003ca href=\"https://www.facebook.com/hunxandhispunx/\" rel=\"noopener\" target=\"_blank\">Hunx and His Punx\u003c/a>, Bogart’s artwork and multimedia performances have been featured in solo and group shows at galleries and museums in New York, Chicago and Detroit. Through his label \u003ca href=\"https://wackywacko.com/\" rel=\"noopener\" target=\"_blank\">Wacky Wacko\u003c/a>, Bogart also releases bright, mischievous ceramics and clothes; he collaborated with Cheung in 2018 on a button-up shirt patterned with Cheung’s signature nudes. \u003c/p>\n\u003cfigure id=\"attachment_13868826\" class=\"wp-caption aligncenter\" style=\"max-width: 3718px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/bogart.jpeg\" alt=\"Ceramics by Seth Bogart, 2019.\" width=\"3718\" height=\"2569\" class=\"size-full wp-image-13868826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart.jpeg 3718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1200x829.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1920x1327.jpeg 1920w\" sizes=\"(max-width: 3718px) 100vw, 3718px\">\u003cfigcaption class=\"wp-caption-text\">Ceramics by Seth Bogart, 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hopping from one medium to the next came naturally to Bogart. “I started making clothes based on making merchandise for my band as a way to make extra money so I could quit my job,” he says. “I’m very thankful that I can move from one thing to another because sometimes, one of those things will really suck.” \u003c/p>\n\u003cp>Like Bogart, Purnell’s artistic expression crosses from one format to another. In 2017, he published his debut novel, \u003cem>\u003ca href=\"https://www.feministpress.org/books-n-z/since-i-laid-my-burden-down\" rel=\"noopener\" target=\"_blank\">Since I Laid My Burden Down\u003c/a>\u003c/em>, which went on to win the Whiting Prize for notable emerging writers. That same year his \u003ca href=\"http://www.brontezpurnelldancecompany.com/\" rel=\"noopener\" target=\"_blank\">eponymous dance company\u003c/a> debuted \u003cem>Chronic: A Dance about Marijuana\u003c/em> at a festival held by Bill T. Jones’s New York Live Arts. The show later played in Hamburg and made its Oakland debut earlier this month at \u003cem>Eternal Now\u003c/em>, a psychedelic variety show that, full disclaimer, this writer helped produce. (Shortly after that performance, Purnell declared “Oakland is back!” Though there’s an argument to whether the city is truly “back,” I won’t dispute the relative dormancy of its arts scene.)\u003c/p>\n\u003cp>These days, heightened safety measures and scarcity of space have shepherded in a new era in the Oakland underground scene. Meeting a kindred spirit at a warehouse venue is far less likely. Some gatherings have moved to formal spaces with security guards, lines and permits, while others are held outdoors, preserving the impermanence and fugitivity of the underground.\u003c/p>\n\u003cfigure id=\"attachment_13868827\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg\" alt=\"Jeffrey Cheung, 'Complete,' 2019.\" width=\"1200\" height=\"1490\" class=\"size-full wp-image-13868827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-966x1200.jpg 966w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung, ‘Complete,’ 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Rockridge BART parking lot, for example, you might now find Cheung and Gabriel Ramirez’s Unity Skate meetups which, along with \u003ca href=\"https://www.unityzines.com/\" rel=\"noopener\" target=\"_blank\">Unity Press\u003c/a>, center accessible learning and joy for queer and trans folks. Cheung credits a free printmaking class led by Katie Gilmartin at San Francisco’s SOMArts as an inspiration for the work he does now with Unity. \u003c/p>\n\u003cp>“There were a lot of different creative scenes and spaces that I think were really inspiring to me, and felt like I could really express myself how I wanted,” he says of growing up in Oakland and taking classes in San Francisco. “Being around other young queer folks and having the resources to learn printmaking for free was amazing. I feel like these types of resources and spaces are harder to find in the Bay and are even more important to have.”\u003c/p>\n\u003cp>In his solo work as an artist, Cheung paints canvases of nude figures, tender and impish and always finished with a wink. His paintings have been included in shows both nationally and internationally. For Cheung, even these moments of individual recognition are opportunities to build community: His exhibitions never seem to pass without a Unity Skate meetup and skateboard giveaway. \u003c/p>\n\u003cp>https://www.instagram.com/p/B35RmI7JMul/\u003c/p>\n\u003cp>\u003cem>Pansy Twist\u003c/em> is a name borrowed from the \u003ca href=\"https://www.youtube.com/watch?v=I_kGP-AlEuk\" rel=\"noopener\" target=\"_blank\">title of a song\u003c/a> by London riot grrrl band Huggy Bear. “I think it’s a call to queer action and a call to crime,” Purnell says of the song. “I used to listen to it when I was a teenager and I thought it was the coolest song ever.” At Johansson Projects, the exhibition version of \u003cem>Pansy Twist\u003c/em> offers its own compelling call to action in its offer of D.I.T., or “do it together” (compared to D.I.Y.’s plea to “do it yourself”)—a celebration of the possibilities of community. \u003c/p>\n\u003cp>As Purnell puts it: “We hope somebody sees it and has a \u003cem>Pansy Twist\u003c/em> in their town.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Pansy Twists’ is on view at Johansson Projects Oct. 25, 2019–Jan. 4, 2020 with a reception on Saturday, Nov. 1. \u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "‘Pansy Twist’ Celebrates the Possibilities of Community for Queer Rockers and Artists | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>akland used to be the sort of city where two young, queer boys from Arizona and Alabama—incidentally also pen pals—could pack up and move. Once there, they’d make music, art and friends. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13864254\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/RuthHeadshot_160.jpg\" alt=\"\" width=\"160\" height=\"187\">\u003c/p>\n\u003cp>Artists Seth Bogart, raised in Arizona, and Brontez Purnell, Alabamian by birth, met on the message board of record label Kill Rock Stars and struck up a correspondence, mailing each other letters from their respective conservative home states. In the late 90s, Bogart moved to Oakland and in 2002, Purnell followed suit, soon joining Bogart’s electro-punk band \u003ca href=\"https://en.wikipedia.org/wiki/Gravy_Train!!!!\" rel=\"noopener\" target=\"_blank\">Gravy Train!!!!\u003c/a> About a decade later, Purnell met Jeff Cheung, who grew up in the East Bay, when Cheung performed with his own band Meat Market at the West Oakland warehouse where Purnell lived. (Purnell and Brontez were well known to Cheung; when the younger artist was in high school, he saw Gravy Train!!!! perform at San Francisco’s Bottom of the Hill.)\u003c/p>\n\u003cfigure id=\"attachment_13868820\" class=\"wp-caption alignright\" style=\"max-width: 748px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg\" alt=\"Brontez Purnell-made poster for 'Pansy Twist.'\" width=\"748\" height=\"960\" class=\"size-full wp-image-13868820\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press.jpg 748w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Riot-Boy-Press-160x205.jpg 160w\" sizes=\"(max-width: 748px) 100vw, 748px\">\u003cfigcaption class=\"wp-caption-text\">Brontez Purnell-made poster for ‘Pansy Twist.’ \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This Friday all three multidisciplinary artists will show print, film and sculpture works at Oakland’s Johansson Projects under the banner \u003cem>\u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Pansy Twist: An Incomplete Survey/Mixtape of Contemporary Riot Boi Art\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>“I don’t know too many places that have this many [queer] rockers who also share in community and whose voices are distinctly in conversation with each other,” Purnell says of the city that brought the three of them together. \u003c/p>\n\u003cp>“It was kind of a different place back then,” Bogart tells me over the phone from Los Angeles, his home base since 2011. “It was a lot more affordable and you could have a $300 rent if you lived with people.” \u003c/p>\n\u003cp>Today, it’s hard to say if Oakland is the sort of place that offers the same possibilities of community and convergence it did even just five years ago. What connections have forged in the waves of new residents recently arrived to town? How much has been lost along with those who were priced out of their homes? When did this attrition start? Such questions loom large for those invested in Oakland’s cultural identity—but on Friday night, the focus will be on the lovingly entangled webs Bogart, Purnell and Cheung have spun. \u003c/p>\n\u003cp>Since their respective arrivals to Oakland, Bogart and Purnell have forged careers in music and art, making waves far beyond the Bay Area. Alongside his ongoing musical project, \u003ca href=\"https://www.facebook.com/hunxandhispunx/\" rel=\"noopener\" target=\"_blank\">Hunx and His Punx\u003c/a>, Bogart’s artwork and multimedia performances have been featured in solo and group shows at galleries and museums in New York, Chicago and Detroit. Through his label \u003ca href=\"https://wackywacko.com/\" rel=\"noopener\" target=\"_blank\">Wacky Wacko\u003c/a>, Bogart also releases bright, mischievous ceramics and clothes; he collaborated with Cheung in 2018 on a button-up shirt patterned with Cheung’s signature nudes. \u003c/p>\n\u003cfigure id=\"attachment_13868826\" class=\"wp-caption aligncenter\" style=\"max-width: 3718px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/bogart.jpeg\" alt=\"Ceramics by Seth Bogart, 2019.\" width=\"3718\" height=\"2569\" class=\"size-full wp-image-13868826\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart.jpeg 3718w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-160x111.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-800x553.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-768x531.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1020x705.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1200x829.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/bogart-1920x1327.jpeg 1920w\" sizes=\"(max-width: 3718px) 100vw, 3718px\">\u003cfigcaption class=\"wp-caption-text\">Ceramics by Seth Bogart, 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hopping from one medium to the next came naturally to Bogart. “I started making clothes based on making merchandise for my band as a way to make extra money so I could quit my job,” he says. “I’m very thankful that I can move from one thing to another because sometimes, one of those things will really suck.” \u003c/p>\n\u003cp>Like Bogart, Purnell’s artistic expression crosses from one format to another. In 2017, he published his debut novel, \u003cem>\u003ca href=\"https://www.feministpress.org/books-n-z/since-i-laid-my-burden-down\" rel=\"noopener\" target=\"_blank\">Since I Laid My Burden Down\u003c/a>\u003c/em>, which went on to win the Whiting Prize for notable emerging writers. That same year his \u003ca href=\"http://www.brontezpurnelldancecompany.com/\" rel=\"noopener\" target=\"_blank\">eponymous dance company\u003c/a> debuted \u003cem>Chronic: A Dance about Marijuana\u003c/em> at a festival held by Bill T. Jones’s New York Live Arts. The show later played in Hamburg and made its Oakland debut earlier this month at \u003cem>Eternal Now\u003c/em>, a psychedelic variety show that, full disclaimer, this writer helped produce. (Shortly after that performance, Purnell declared “Oakland is back!” Though there’s an argument to whether the city is truly “back,” I won’t dispute the relative dormancy of its arts scene.)\u003c/p>\n\u003cp>These days, heightened safety measures and scarcity of space have shepherded in a new era in the Oakland underground scene. Meeting a kindred spirit at a warehouse venue is far less likely. Some gatherings have moved to formal spaces with security guards, lines and permits, while others are held outdoors, preserving the impermanence and fugitivity of the underground.\u003c/p>\n\u003cfigure id=\"attachment_13868827\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg\" alt=\"Jeffrey Cheung, 'Complete,' 2019.\" width=\"1200\" height=\"1490\" class=\"size-full wp-image-13868827\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-768x954.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Cheung_1200-966x1200.jpg 966w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jeffrey Cheung, ‘Complete,’ 2019. \u003ccite>(Courtesy of the artist and Johansson Projects)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Rockridge BART parking lot, for example, you might now find Cheung and Gabriel Ramirez’s Unity Skate meetups which, along with \u003ca href=\"https://www.unityzines.com/\" rel=\"noopener\" target=\"_blank\">Unity Press\u003c/a>, center accessible learning and joy for queer and trans folks. Cheung credits a free printmaking class led by Katie Gilmartin at San Francisco’s SOMArts as an inspiration for the work he does now with Unity. \u003c/p>\n\u003cp>“There were a lot of different creative scenes and spaces that I think were really inspiring to me, and felt like I could really express myself how I wanted,” he says of growing up in Oakland and taking classes in San Francisco. “Being around other young queer folks and having the resources to learn printmaking for free was amazing. I feel like these types of resources and spaces are harder to find in the Bay and are even more important to have.”\u003c/p>\n\u003cp>In his solo work as an artist, Cheung paints canvases of nude figures, tender and impish and always finished with a wink. His paintings have been included in shows both nationally and internationally. For Cheung, even these moments of individual recognition are opportunities to build community: His exhibitions never seem to pass without a Unity Skate meetup and skateboard giveaway. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Pansy Twist\u003c/em> is a name borrowed from the \u003ca href=\"https://www.youtube.com/watch?v=I_kGP-AlEuk\" rel=\"noopener\" target=\"_blank\">title of a song\u003c/a> by London riot grrrl band Huggy Bear. “I think it’s a call to queer action and a call to crime,” Purnell says of the song. “I used to listen to it when I was a teenager and I thought it was the coolest song ever.” At Johansson Projects, the exhibition version of \u003cem>Pansy Twist\u003c/em> offers its own compelling call to action in its offer of D.I.T., or “do it together” (compared to D.I.Y.’s plea to “do it yourself”)—a celebration of the possibilities of community. \u003c/p>\n\u003cp>As Purnell puts it: “We hope somebody sees it and has a \u003cem>Pansy Twist\u003c/em> in their town.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>\u003ci>‘Pansy Twists’ is on view at Johansson Projects Oct. 25, 2019–Jan. 4, 2020 with a reception on Saturday, Nov. 1. \u003ca href=\"https://www.johanssonprojects.com/portfolio/bogart-cheung-purnell/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "rico-g-r-i-c-o-gs-philosophies-oakland",
"title": "R.i.c.o G's Philosophies on Learning to Let Go",
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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\">W\u003c/span>hen my family and I walked into a close friend’s house for a small gathering last Saturday afternoon, yoga instructor Shakira Scott was there—Apple TV remote in hand—saying we were just in time to watch this short comedy film, \u003cem>Hella Vegan\u003c/em>, starring R.i.c.o. G.\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>I jumped. This guy is everywhere. “How are you connected to him?” I asked her.\u003c/p>\n\u003cp>Scott replied that she’s been cast in the role of his love interest in a separate upcoming film written by Jordan Skipper. They’d just shot the first scene the day before.\u003c/p>\n\u003cp>\u003cem>Of course\u003c/em> R.i.c.o is doing a love film, I thought. The short \u003ca href=\"https://vimeo.com/349229286\" target=\"_blank\" rel=\"noopener\">Hella Vegan\u003c/a>, also written by Jordan Skipper, is comedic social commentary. R.i.c.o.’s is also in LaTajh Weaver’s \u003ca href=\"https://www.kickstarter.com/projects/902481180/cycles-a-web-series-reclaiming-our-own-stories-of\" target=\"_blank\" rel=\"noopener\">Cycles\u003c/a>, a web series focused on cyclical violence in urban communities. So, a romantic role means he’s just about covered all the bases. Now I’m just waiting for a horror film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Scott, who recently led the \u003ca href=\"https://www.sfgate.com/raiders/article/yoga-oakland-raiders-hard-knocks-marshawn-lynch-14301920.php\" target=\"_blank\" rel=\"noopener\">Oakland Raiders\u003c/a> through some yoga workouts for a segment that appeared on HBO’s series \u003cem>Hard Knocks\u003c/em>, then told me R.i.c.o also produced music for her yoga videos. \u003cem>Of course\u003c/em>, I forgot he’s been making beats too; he recently dropped a beat tape called \u003ca href=\"https://soundcloud.com/ricog28/sets/sayless\" target=\"_blank\" rel=\"noopener\">\u003cem>Say Less\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Scott laughed and told me she first met R.i.c.o back in the day, when he used to walk around with a mic and loudspeaker, freestyling on Telegraph. \u003cem>Of course\u003c/em>—I almost forgot that I used to see him over there too; so many late night moves to Rudy’s Can’t Fail for the French toast would lead me to crossing his path.\u003c/p>\n\u003cp>Dude is everywhere.\u003c/p>\n\u003cp>Did I mention we went to Edna Brewer Middle School together? He was two grades behind me, so I didn’t know him that well. But again, even as a kid, I’d still see him everywhere.\u003c/p>\n\u003cp>Kinda makes you wonder what goes through his mind, doesn’t it? What keeps him motivated to put himself out there?\u003c/p>\n\u003cp>So, I asked him.\u003c/p>\n\u003cfigure id=\"attachment_13867942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-800x535.jpg\" alt=\"R.i.c.o G at the mini park on 14th and Willow Street in West Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.i.c.o G at the mini park on 14th and Willow Street in West Oakland \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\">“G\u003c/span>iving a fuck is overrated,” R.i.c.o G told me, by way of an answer, as we sat in the smoker’s section of 7th West in West Oakland. It might sound like the title of \u003ca href=\"https://www.goodreads.com/book/show/28257707-the-subtle-art-of-not-giving-a-f-ck\" target=\"_blank\" rel=\"noopener\">a bestselling book\u003c/a>, but it’s true: that driving philosophy is what allows him to be liberated as an artist. “That’s how I’m able to sing on a track, that’s how I’m able to be free,” he explained.\u003c/p>\n\u003cp>On his hip-hop album from this past summer, \u003ca href=\"https://soundcloud.com/ricog28/sets/patientlydonewaiting\" target=\"_blank\" rel=\"noopener\">\u003cem>Patiently Done Waiting\u003c/em>\u003c/a>, R.i.c.o G taps into his love for rock and R&B music—without overthinking it.\u003c/p>\n\u003cp>“When people ask what music I listen to, I can never answer it straight,” R.i.c.o G said. “I might be listening to the Ramones, I might be listening to Beyoncé. If I told people I do leg day at the gym to Beyoncé’s ‘Before I Let Go,’ no one would believe me,” he said with a laugh.\u003c/p>\n\u003cp>Although he does sing, it’s more harmonizing—he doesn’t hit any Beyoncé-like notes on the album—and yeah, he does his own version of the Ramones’ classic “I Wanna Be Sedated.”\u003c/p>\n\u003cp>And within his musical explorations, he drops subtle philosophies about his approach to work, art and life. That’s what garnered my interest, the philosophies—I mean, it’s not often you meet an MC from Oakland who attended Hofstra University and now works as a mental health counselor at a public school. So we talked about it.\u003c/p>\n\u003cp>On the song, Fly Away, Rico G says, “If you don’t run / you cannot be chased.” He says that’s emblematic of the mind state a lot of us have. “A lot of the time, being chased is metaphorical—it’s a feeling,” Rico G said. “The shit that you avoid is the shit you think about all day.”\u003c/p>\n\u003cp>“It’s like you’re mentally running,” I said, and looked at my notes for the next lyrics to ask him about.\u003c/p>\n\u003cp>“Playing hide-and-go-get-it / Found a dope stash when I was looking for hugs and kisses / Put it back just because I knew whose it was / at a young age I understood why they needed funds.”\u003c/p>\n\u003cp>I asked him: \u003cem>what does this mean?\u003c/em>\u003c/p>\n\u003cp>“That’s that Manzanita Center shit!” R.i.c.o. said, almost jumping up from the wood bench.\u003c/p>\n\u003cp>At a young age, he told me, he knew what a crack rock looked like. “I had always seen people with hella spitters (bagged up crack) under their tongue, so when I saw that bag—I put it back—I’m not going to touch that,” said R.i.c.o.\u003c/p>\n\u003cp>“That was a part of my growing up… I knew my place at that moment. I’m not a street dude. I don’t rob people for their crack and go sell it, that’s not me.”\u003c/p>\n\u003cp>\u003cem>Not a street dude, but exposed to street shit\u003c/em>. I fall into that column too. Even spent some significant moments from my formative years at that same community center.\u003c/p>\n\u003cp>I asked about the next line, “Stop bringing pistols to the party / all that street shit be fucking up the art scene.”\u003c/p>\n\u003cp>“Art murmur, first Friday,” R.i.c.o. said solemnly.\u003c/p>\n\u003cp>He was talking about \u003ca href=\"https://oaklandish.com/blogs/news/first-friday-violence-a-symptom-of-the-city-s-disease\">the 2013 death of Kiante Campbell\u003c/a>, who I wrote about, as he was the younger brother of \u003ca href=\"https://www.eastbaytimes.com/2006/11/20/man-fatally-shot-outside-complex-in-n-oakland/\">Marcel Campbell\u003c/a>, a childhood friend of mine who was also killed in 2006.\u003c/p>\n\u003cp>I told R.i.c.o. the line also made me think of the \u003ca href=\"https://www.eastbayexpress.com/oakland/reflections-on-the-15th-street-tragedy/Content?oid=4947666\">2016 killing\u003c/a> of Terrence “T-Mack” McCrary and Craig Fletcher-Cooks.\u003c/p>\n\u003cp>“I was there!” said R.i.c.o, as he explained running from gunfire that night during an arts event on 15th Street in downtown Oakland. He then lamented the notion of violence even coming into the arts arena.\u003c/p>\n\u003cp>“Bruh, it’s crazy. That’s bootsie. That blocks our progress. The way everyone speaks of Oakland in the old days, there was a universal code—there were certain places where certain shit just didn’t go down,” said R.i.c.o, just as Langston, a open mic host and 7th West employee, came up to us to let us know happy hour was ending.\u003c/p>\n\u003cfigure id=\"attachment_13867943\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.i.c.o stands for “real is currently over looked.” \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> asked R.i.c.o. about the title of the album, and how it ties into his overall mind state at this point in his life.\u003c/p>\n\u003cp>“’Patiently done waiting’ is not being mad at anybody. And at the same time, saying: ‘fuck everybody’,” R.i.c.o said. “Not in a negative way,” he added, with a laugh.\u003c/p>\n\u003cp>He rattled off a list of recent happenings that have caused him to push the gas pedal on his career: his father’s death and his best friend’s little brother’s murder. He mentioned romantic relationships that didn’t pan out, and reflected on the role he played in them. Even mentioned music producers not sending him tracks after they said they would.\u003c/p>\n\u003cp>“Just ’cause somebody cats off on you, that’s no excuse not be successful,” R.i.c.o said. “It just means you have to demand more of yourself. And then meet that demand.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And a significant part of meeting that demand is simply showing up. R.i.c.o G seems to get that.\u003c/p>\n\n",
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"title": "R.i.c.o G's Philosophies on Learning to Let Go | KQED",
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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\">W\u003c/span>hen my family and I walked into a close friend’s house for a small gathering last Saturday afternoon, yoga instructor Shakira Scott was there—Apple TV remote in hand—saying we were just in time to watch this short comedy film, \u003cem>Hella Vegan\u003c/em>, starring R.i.c.o. G.\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>I jumped. This guy is everywhere. “How are you connected to him?” I asked her.\u003c/p>\n\u003cp>Scott replied that she’s been cast in the role of his love interest in a separate upcoming film written by Jordan Skipper. They’d just shot the first scene the day before.\u003c/p>\n\u003cp>\u003cem>Of course\u003c/em> R.i.c.o is doing a love film, I thought. The short \u003ca href=\"https://vimeo.com/349229286\" target=\"_blank\" rel=\"noopener\">Hella Vegan\u003c/a>, also written by Jordan Skipper, is comedic social commentary. R.i.c.o.’s is also in LaTajh Weaver’s \u003ca href=\"https://www.kickstarter.com/projects/902481180/cycles-a-web-series-reclaiming-our-own-stories-of\" target=\"_blank\" rel=\"noopener\">Cycles\u003c/a>, a web series focused on cyclical violence in urban communities. So, a romantic role means he’s just about covered all the bases. Now I’m just waiting for a horror film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Scott, who recently led the \u003ca href=\"https://www.sfgate.com/raiders/article/yoga-oakland-raiders-hard-knocks-marshawn-lynch-14301920.php\" target=\"_blank\" rel=\"noopener\">Oakland Raiders\u003c/a> through some yoga workouts for a segment that appeared on HBO’s series \u003cem>Hard Knocks\u003c/em>, then told me R.i.c.o also produced music for her yoga videos. \u003cem>Of course\u003c/em>, I forgot he’s been making beats too; he recently dropped a beat tape called \u003ca href=\"https://soundcloud.com/ricog28/sets/sayless\" target=\"_blank\" rel=\"noopener\">\u003cem>Say Less\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Scott laughed and told me she first met R.i.c.o back in the day, when he used to walk around with a mic and loudspeaker, freestyling on Telegraph. \u003cem>Of course\u003c/em>—I almost forgot that I used to see him over there too; so many late night moves to Rudy’s Can’t Fail for the French toast would lead me to crossing his path.\u003c/p>\n\u003cp>Dude is everywhere.\u003c/p>\n\u003cp>Did I mention we went to Edna Brewer Middle School together? He was two grades behind me, so I didn’t know him that well. But again, even as a kid, I’d still see him everywhere.\u003c/p>\n\u003cp>Kinda makes you wonder what goes through his mind, doesn’t it? What keeps him motivated to put himself out there?\u003c/p>\n\u003cp>So, I asked him.\u003c/p>\n\u003cfigure id=\"attachment_13867942\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-800x535.jpg\" alt=\"R.i.c.o G at the mini park on 14th and Willow Street in West Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6044.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.i.c.o G at the mini park on 14th and Willow Street in West Oakland \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\">“G\u003c/span>iving a fuck is overrated,” R.i.c.o G told me, by way of an answer, as we sat in the smoker’s section of 7th West in West Oakland. It might sound like the title of \u003ca href=\"https://www.goodreads.com/book/show/28257707-the-subtle-art-of-not-giving-a-f-ck\" target=\"_blank\" rel=\"noopener\">a bestselling book\u003c/a>, but it’s true: that driving philosophy is what allows him to be liberated as an artist. “That’s how I’m able to sing on a track, that’s how I’m able to be free,” he explained.\u003c/p>\n\u003cp>On his hip-hop album from this past summer, \u003ca href=\"https://soundcloud.com/ricog28/sets/patientlydonewaiting\" target=\"_blank\" rel=\"noopener\">\u003cem>Patiently Done Waiting\u003c/em>\u003c/a>, R.i.c.o G taps into his love for rock and R&B music—without overthinking it.\u003c/p>\n\u003cp>“When people ask what music I listen to, I can never answer it straight,” R.i.c.o G said. “I might be listening to the Ramones, I might be listening to Beyoncé. If I told people I do leg day at the gym to Beyoncé’s ‘Before I Let Go,’ no one would believe me,” he said with a laugh.\u003c/p>\n\u003cp>Although he does sing, it’s more harmonizing—he doesn’t hit any Beyoncé-like notes on the album—and yeah, he does his own version of the Ramones’ classic “I Wanna Be Sedated.”\u003c/p>\n\u003cp>And within his musical explorations, he drops subtle philosophies about his approach to work, art and life. That’s what garnered my interest, the philosophies—I mean, it’s not often you meet an MC from Oakland who attended Hofstra University and now works as a mental health counselor at a public school. So we talked about it.\u003c/p>\n\u003cp>On the song, Fly Away, Rico G says, “If you don’t run / you cannot be chased.” He says that’s emblematic of the mind state a lot of us have. “A lot of the time, being chased is metaphorical—it’s a feeling,” Rico G said. “The shit that you avoid is the shit you think about all day.”\u003c/p>\n\u003cp>“It’s like you’re mentally running,” I said, and looked at my notes for the next lyrics to ask him about.\u003c/p>\n\u003cp>“Playing hide-and-go-get-it / Found a dope stash when I was looking for hugs and kisses / Put it back just because I knew whose it was / at a young age I understood why they needed funds.”\u003c/p>\n\u003cp>I asked him: \u003cem>what does this mean?\u003c/em>\u003c/p>\n\u003cp>“That’s that Manzanita Center shit!” R.i.c.o. said, almost jumping up from the wood bench.\u003c/p>\n\u003cp>At a young age, he told me, he knew what a crack rock looked like. “I had always seen people with hella spitters (bagged up crack) under their tongue, so when I saw that bag—I put it back—I’m not going to touch that,” said R.i.c.o.\u003c/p>\n\u003cp>“That was a part of my growing up… I knew my place at that moment. I’m not a street dude. I don’t rob people for their crack and go sell it, that’s not me.”\u003c/p>\n\u003cp>\u003cem>Not a street dude, but exposed to street shit\u003c/em>. I fall into that column too. Even spent some significant moments from my formative years at that same community center.\u003c/p>\n\u003cp>I asked about the next line, “Stop bringing pistols to the party / all that street shit be fucking up the art scene.”\u003c/p>\n\u003cp>“Art murmur, first Friday,” R.i.c.o. said solemnly.\u003c/p>\n\u003cp>He was talking about \u003ca href=\"https://oaklandish.com/blogs/news/first-friday-violence-a-symptom-of-the-city-s-disease\">the 2013 death of Kiante Campbell\u003c/a>, who I wrote about, as he was the younger brother of \u003ca href=\"https://www.eastbaytimes.com/2006/11/20/man-fatally-shot-outside-complex-in-n-oakland/\">Marcel Campbell\u003c/a>, a childhood friend of mine who was also killed in 2006.\u003c/p>\n\u003cp>I told R.i.c.o. the line also made me think of the \u003ca href=\"https://www.eastbayexpress.com/oakland/reflections-on-the-15th-street-tragedy/Content?oid=4947666\">2016 killing\u003c/a> of Terrence “T-Mack” McCrary and Craig Fletcher-Cooks.\u003c/p>\n\u003cp>“I was there!” said R.i.c.o, as he explained running from gunfire that night during an arts event on 15th Street in downtown Oakland. He then lamented the notion of violence even coming into the arts arena.\u003c/p>\n\u003cp>“Bruh, it’s crazy. That’s bootsie. That blocks our progress. The way everyone speaks of Oakland in the old days, there was a universal code—there were certain places where certain shit just didn’t go down,” said R.i.c.o, just as Langston, a open mic host and 7th West employee, came up to us to let us know happy hour was ending.\u003c/p>\n\u003cfigure id=\"attachment_13867943\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867943\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/LRG__DSC6030.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">R.i.c.o stands for “real is currently over looked.” \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> asked R.i.c.o. about the title of the album, and how it ties into his overall mind state at this point in his life.\u003c/p>\n\u003cp>“’Patiently done waiting’ is not being mad at anybody. And at the same time, saying: ‘fuck everybody’,” R.i.c.o said. “Not in a negative way,” he added, with a laugh.\u003c/p>\n\u003cp>He rattled off a list of recent happenings that have caused him to push the gas pedal on his career: his father’s death and his best friend’s little brother’s murder. He mentioned romantic relationships that didn’t pan out, and reflected on the role he played in them. Even mentioned music producers not sending him tracks after they said they would.\u003c/p>\n\u003cp>“Just ’cause somebody cats off on you, that’s no excuse not be successful,” R.i.c.o said. “It just means you have to demand more of yourself. And then meet that demand.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And a significant part of meeting that demand is simply showing up. R.i.c.o G seems to get that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Note: This episode originally aired May 5, 2019\u003c/em>\u003c/p>\n\u003cp>Last year, the \u003ca href=\"http://alphabetrockers.com\">Alphabet Rockers\u003c/a>, a musical group comprised of four elementary school-aged folks and two adult mentors, were \u003ca href=\"https://www.kqed.org/arts/13816003/five-bay-area-artists-receive-nominations-for-2018-grammys\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy\u003c/a> for their album, \u003cem>Rise, Shine, #Woke\u003c/em>. That project focused largely on identity, with \u003ca href=\"https://www.kqed.org/arts/12704362/alphabet-rockers-now-making-childrens-songs-about-social-issues\" target=\"_blank\" rel=\"noopener\">a specific look at racial identity\u003c/a>.\u003c/p>\n\u003cp>This year, the group is back with more music that explores tough topics. Their forthcoming album, \u003cem>The Love\u003c/em>, is set for release later this summer, with a focus on gender identity.\u003c/p>\n\u003cp>In talking to the next generation of Bay Area superstars—Tommy Sheppard III, Maya Fleming, Lillian Ellis and Kali de Jesus—it’s evident this is something that young folks want to talk about. With the guidance of Tommy Sheppard, Jr. and Kaitlin McGaw, the group is making music that’ll help all a wider audience of people further address topics that some might have a hard time navigating.\u003c/p>\n\u003cp>I caught up with the Alphabet Rockers crew at the \u003ca href=\"https://ww2.kqed.org/spark/destiny-arts-center/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a> in North Oakland, where they often rehearse. We discussed what it means to be Grammy-nominated, the podcast they’ll be launching soon, as well as songs and themes on \u003cem>The Love\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To hear all about it, click the link above.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Note: This episode originally aired May 5, 2019\u003c/em>\u003c/p>\n\u003cp>Last year, the \u003ca href=\"http://alphabetrockers.com\">Alphabet Rockers\u003c/a>, a musical group comprised of four elementary school-aged folks and two adult mentors, were \u003ca href=\"https://www.kqed.org/arts/13816003/five-bay-area-artists-receive-nominations-for-2018-grammys\" target=\"_blank\" rel=\"noopener\">nominated for a Grammy\u003c/a> for their album, \u003cem>Rise, Shine, #Woke\u003c/em>. That project focused largely on identity, with \u003ca href=\"https://www.kqed.org/arts/12704362/alphabet-rockers-now-making-childrens-songs-about-social-issues\" target=\"_blank\" rel=\"noopener\">a specific look at racial identity\u003c/a>.\u003c/p>\n\u003cp>This year, the group is back with more music that explores tough topics. Their forthcoming album, \u003cem>The Love\u003c/em>, is set for release later this summer, with a focus on gender identity.\u003c/p>\n\u003cp>In talking to the next generation of Bay Area superstars—Tommy Sheppard III, Maya Fleming, Lillian Ellis and Kali de Jesus—it’s evident this is something that young folks want to talk about. With the guidance of Tommy Sheppard, Jr. and Kaitlin McGaw, the group is making music that’ll help all a wider audience of people further address topics that some might have a hard time navigating.\u003c/p>\n\u003cp>I caught up with the Alphabet Rockers crew at the \u003ca href=\"https://ww2.kqed.org/spark/destiny-arts-center/\" target=\"_blank\" rel=\"noopener\">Destiny Arts Center\u003c/a> in North Oakland, where they often rehearse. We discussed what it means to be Grammy-nominated, the podcast they’ll be launching soon, as well as songs and themes on \u003cem>The Love\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Saturday, Oct. 12, a few former members of the Black Panther Party for Self-Defense will convene at what’s commonly known as Lil Bobby Hutton Park in West Oakland (DeFremery Park by others) to serve free breakfast.\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=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s the same thing they were doing exactly 50 years ago.\u003c/p>\n\u003cp>This time around, it’s in collaboration with the arts and culture festival \u003ca href=\"https://lil19.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Life Is Living\u003c/a>. Since 2007, the organization Youth Speaks has thrown the annual event, bringing the likes of Questlove and Mos Def to the Bay Area. And since 2010, they’ve been serving free breakfast too—inspired by the legacy of the Panthers.\u003c/p>\n\u003cp>The simple action of feeding the community—especially schoolchildren, prior to classes—has been undertaken since in many different shapes and forms, by numerous organizations and institutions. Earlier this year, I wrote about \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Breakfast Oakland\u003c/a>, and last year I wrote about \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>’s efforts. Both would tell you they were inspired by the Black Panther Party.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even the \u003ca href=\"https://www.fns.usda.gov/sbp/sbp-fact-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Department of Agriculture\u003c/a> had to have taken note of what the Black Panthers were doing. The government School Breakfast Program became a “permanent entitlement program by Congress” in 1975, six years after the Panthers launched their program in the basement of Oakland’s St. Augustine Church, in January 1969.\u003c/p>\n\u003cp>One of the people serving pancakes, oatmeal and hot cocoa to the young students back then was Billy X Jennings.\u003c/p>\n\u003cfigure id=\"attachment_13867533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg\" alt=\"Billy X Jennings, the Black Panther archivist, pictured in Sacramento.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings.jpg 1616w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings, the Black Panther archivist, pictured in Sacramento. \u003ccite>(Pendarvis Harshaw/KQED)\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 breakfast program really influenced my thinking as a young person,” said Jennings, the Black Panther Party’s archivist, sitting at a restaurant near William Curtis Park in Sacramento. “I was actually doing something to change the conditions.”\u003c/p>\n\u003cp>I’d reached out to Jennings as soon as I moved to Sacramento. It was my first face-to-face meeting with him after being aware of his work for over five years: he maintains the official Black Panther Party website, \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">ItsAboutTimeBPP.com\u003c/a>. He also organizes, promotes and documents BPP events. When I noticed him promoting the 50th anniversary of the Breakfast Program, I figured it was time to break bread.\u003c/p>\n\u003cp>He took me back to the origins.\u003c/p>\n\u003cp>“Huey [P. Newton]’s girlfriend at the time (LaVerne Anderson) was taking an Afro-Hatian dance class from Mrs. Ruth Beckford-Smith, the famed dancer,” Jennings told me. “And then, she told Ruth Beckford-Smith about the Party, Ruth Beckford-Smith told Father Neil, and Father Neil let them use his church to start the breakfast program,” Jennings said, matter of factly.\u003c/p>\n\u003cp>In a piece recapping his connection with the Party, \u003ca href=\"http://www.itsabouttimebpp.com/Our_Stories/Chapter1/BPP_and_Father_Neil.html\" target=\"_blank\" rel=\"noopener noreferrer\">Father Neil writes\u003c/a>, “We began with 11 youngsters the first day (a Monday) and by Friday we were serving 135 students.”\u003c/p>\n\u003cp>At the time, Jennings was a fresh high school graduate, class of the turbulent year of 1968. On the night of graduation, he got on a bus out of San Diego and ended up in Deep East Oakland, on 75th and Spencer, not too far from where the A’s had just opened their new coliseum two years prior; the Raiders were playing there too.\u003c/p>\n\u003cp>“By our house, every time they’d make a touchdown, they’d shoot off this big cannon. Boom!” Jennings said loudly. “All over East Oakland, you’d hear the cannon and you’d know we made a touchdown,” he said with a laugh.\u003c/p>\n\u003cp>In Oakland, Jennings didn’t have to go far to be influenced by the culture: his neighbor was in charge of distribution of the Panther Newspaper. “The Party had this big old van that had a panther on the side of it. I think it was an old milk truck, if you know what a milk truck looks like from back then,” Jennings said, looking at me through his glasses.\u003c/p>\n\u003cp>On top of going to school at Laney College and working at McDonalds near 68th and Foothill, he started doing work for the Panthers. He had a paper route that covered an area of East Oakland that stretched from the newly opened Eastmont Mall to the intersection of 98th Avenue and E. 14th Street.\u003c/p>\n\u003cp>Jennings’ work was based out of the East Oakland Panther office, which was originally on 73rd Avenue and E. 14th Street before moving to 99th Avenue and E. 14th Street. While working there, he was asked to partake in learning the ins and outs of the Breakfast Program, so he went over to St. Augustine’s.\u003c/p>\n\u003cp>“In the morning, I’d get to the church and help them out for about three hours,” he recalled. “And then my first class would be at 9am at Laney.”\u003c/p>\n\u003cfigure id=\"attachment_13867535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg\" alt=\"A sign marking a free breakfast location in Oakland.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1200x609.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign marking a free breakfast location in Oakland. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, the Party opened breakfast programs all around Oakland. “We opened a breakfast program in Jingletown, at the Mary Help of Christians Church,” Jennings said, as his hamburger was served. “Then we opened a program on 62nd Avenue, at St. Bernard Church. And then we opened another one on Douglas and Edes, by the railroad tracks in Brookfield.”\u003c/p>\n\u003cp>The Panthers got \u003ca href=\"https://localwiki.org/oakland/Free_Breakfast_for_Children_Program\" target=\"_blank\" rel=\"noopener noreferrer\">donations from local businesses\u003c/a> and continued to expand, opening up a program at a former community center on 99th Avenue. Jennings says DeFremery Park was only used for about six months, until the center on 12th Street near Campbell Village was reopened.\u003c/p>\n\u003cp>“We used to feed a bunch of kids in the village,” Jennings said, referring to the housing projects.\u003c/p>\n\u003cp>“At that time, Oakland was way below the poverty level,” Jennings told me. “We had people moving from Alabama, Texas, Louisiana and they were living in their cars and stuff like that—car full of people, 7–8 kids!” I ate and thought to myself how Oakland \u003cem>still\u003c/em> has issues with poverty and homelessness. According to the \u003ca href=\"http://everyonehome.org/wp-content/uploads/2016/02/2017-Alameda-County-8.1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017 Alameda County Homeless Census Survey, \u003c/a>“Unaccompanied children and transition-age youth represented 18% of the overall (homeless) population in 2017, an increase from 7% in 2015.”\u003c/p>\n\u003cp>Back then, they were fighting many of the same issues. “Kids would go to school hungry, and they’d faint. And the school had put a Band-Aid on the problem, saying, ‘Take this person home so they can get some food.’ Duh, if they would’ve had some food, they would’ve ate some food,” Jennings said.\u003c/p>\n\u003cfigure id=\"attachment_13867597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Emory.BillyX-800x532.jpg\" alt=\"Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016. \u003ccite>(Pendarvis Harshaw/KQED)\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> brought up the issue of homelessness in Oakland. Jennings agreed that it’s crazy right now. When I asked what people could gain from looking at the infrastructure of what the Black Panthers did, he went in.\u003c/p>\n\u003cp>“The Black Panther Party was a vanguard organization. The vanguard’s responsibility was to set the table, the rest is up to young people—the rest is up to you. We showed people, this is how you feed people in the community. This is how you defend people in the community, you know?” Jennings took a breath, and continued.\u003c/p>\n\u003cp>“You start programs, you take care of your people, and then you start a clinic. The professional people from our community who went to college, or went and got the skills, you give them an institution where they can provide, where they can help, you know?”\u003c/p>\n\u003cp>He hadn’t taken a bite from his burger in some time. He’d been too busy rattling off reasons why the Panthers’ work was foundational to steps that should be taken today to cure the societal issues faced by Oakland and the greater Bay Area.\u003c/p>\n\u003cp>Imagine: simply relying on community power to fix community problems, while uplifting those who are most impacted—the poor, opposed and marginalized. Imagine us being that solution-minded. We wouldn’t be having a stupid tug-of-war about \u003ca href=\"https://www.kqed.org/news/11777595/what-boulders-say-about-san-franciscos-inability-to-find-a-solution-to-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">putting boulders on the street\u003c/a> to deter unsheltered people from sleeping there, I’ll tell you that much.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Billy X Jennings succinctly put it, “50 years ago, we started a program that has now fed millions of Americans, all because we put social theory into practice.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Saturday, Oct. 12, a few former members of the Black Panther Party for Self-Defense will convene at what’s commonly known as Lil Bobby Hutton Park in West Oakland (DeFremery Park by others) to serve free breakfast.\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=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>It’s the same thing they were doing exactly 50 years ago.\u003c/p>\n\u003cp>This time around, it’s in collaboration with the arts and culture festival \u003ca href=\"https://lil19.youthspeaks.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Life Is Living\u003c/a>. Since 2007, the organization Youth Speaks has thrown the annual event, bringing the likes of Questlove and Mos Def to the Bay Area. And since 2010, they’ve been serving free breakfast too—inspired by the legacy of the Panthers.\u003c/p>\n\u003cp>The simple action of feeding the community—especially schoolchildren, prior to classes—has been undertaken since in many different shapes and forms, by numerous organizations and institutions. Earlier this year, I wrote about \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Breakfast Oakland\u003c/a>, and last year I wrote about \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>’s efforts. Both would tell you they were inspired by the Black Panther Party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even the \u003ca href=\"https://www.fns.usda.gov/sbp/sbp-fact-sheet\" target=\"_blank\" rel=\"noopener noreferrer\">U.S. Department of Agriculture\u003c/a> had to have taken note of what the Black Panthers were doing. The government School Breakfast Program became a “permanent entitlement program by Congress” in 1975, six years after the Panthers launched their program in the basement of Oakland’s St. Augustine Church, in January 1969.\u003c/p>\n\u003cp>One of the people serving pancakes, oatmeal and hot cocoa to the young students back then was Billy X Jennings.\u003c/p>\n\u003cfigure id=\"attachment_13867533\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867533\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg\" alt=\"Billy X Jennings, the Black Panther archivist, pictured in Sacramento.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BillyXJennings.jpg 1616w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy X Jennings, the Black Panther archivist, pictured in Sacramento. \u003ccite>(Pendarvis Harshaw/KQED)\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 breakfast program really influenced my thinking as a young person,” said Jennings, the Black Panther Party’s archivist, sitting at a restaurant near William Curtis Park in Sacramento. “I was actually doing something to change the conditions.”\u003c/p>\n\u003cp>I’d reached out to Jennings as soon as I moved to Sacramento. It was my first face-to-face meeting with him after being aware of his work for over five years: he maintains the official Black Panther Party website, \u003ca href=\"http://www.itsabouttimebpp.com/home/home.html\" target=\"_blank\" rel=\"noopener noreferrer\">ItsAboutTimeBPP.com\u003c/a>. He also organizes, promotes and documents BPP events. When I noticed him promoting the 50th anniversary of the Breakfast Program, I figured it was time to break bread.\u003c/p>\n\u003cp>He took me back to the origins.\u003c/p>\n\u003cp>“Huey [P. Newton]’s girlfriend at the time (LaVerne Anderson) was taking an Afro-Hatian dance class from Mrs. Ruth Beckford-Smith, the famed dancer,” Jennings told me. “And then, she told Ruth Beckford-Smith about the Party, Ruth Beckford-Smith told Father Neil, and Father Neil let them use his church to start the breakfast program,” Jennings said, matter of factly.\u003c/p>\n\u003cp>In a piece recapping his connection with the Party, \u003ca href=\"http://www.itsabouttimebpp.com/Our_Stories/Chapter1/BPP_and_Father_Neil.html\" target=\"_blank\" rel=\"noopener noreferrer\">Father Neil writes\u003c/a>, “We began with 11 youngsters the first day (a Monday) and by Friday we were serving 135 students.”\u003c/p>\n\u003cp>At the time, Jennings was a fresh high school graduate, class of the turbulent year of 1968. On the night of graduation, he got on a bus out of San Diego and ended up in Deep East Oakland, on 75th and Spencer, not too far from where the A’s had just opened their new coliseum two years prior; the Raiders were playing there too.\u003c/p>\n\u003cp>“By our house, every time they’d make a touchdown, they’d shoot off this big cannon. Boom!” Jennings said loudly. “All over East Oakland, you’d hear the cannon and you’d know we made a touchdown,” he said with a laugh.\u003c/p>\n\u003cp>In Oakland, Jennings didn’t have to go far to be influenced by the culture: his neighbor was in charge of distribution of the Panther Newspaper. “The Party had this big old van that had a panther on the side of it. I think it was an old milk truck, if you know what a milk truck looks like from back then,” Jennings said, looking at me through his glasses.\u003c/p>\n\u003cp>On top of going to school at Laney College and working at McDonalds near 68th and Foothill, he started doing work for the Panthers. He had a paper route that covered an area of East Oakland that stretched from the newly opened Eastmont Mall to the intersection of 98th Avenue and E. 14th Street.\u003c/p>\n\u003cp>Jennings’ work was based out of the East Oakland Panther office, which was originally on 73rd Avenue and E. 14th Street before moving to 99th Avenue and E. 14th Street. While working there, he was asked to partake in learning the ins and outs of the Breakfast Program, so he went over to St. Augustine’s.\u003c/p>\n\u003cp>“In the morning, I’d get to the church and help them out for about three hours,” he recalled. “And then my first class would be at 9am at Laney.”\u003c/p>\n\u003cfigure id=\"attachment_13867535\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867535\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg\" alt=\"A sign marking a free breakfast location in Oakland.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1020x518.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram-1200x609.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/BreakfastProgram.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sign marking a free breakfast location in Oakland. \u003ccite>(PBS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soon after, the Party opened breakfast programs all around Oakland. “We opened a breakfast program in Jingletown, at the Mary Help of Christians Church,” Jennings said, as his hamburger was served. “Then we opened a program on 62nd Avenue, at St. Bernard Church. And then we opened another one on Douglas and Edes, by the railroad tracks in Brookfield.”\u003c/p>\n\u003cp>The Panthers got \u003ca href=\"https://localwiki.org/oakland/Free_Breakfast_for_Children_Program\" target=\"_blank\" rel=\"noopener noreferrer\">donations from local businesses\u003c/a> and continued to expand, opening up a program at a former community center on 99th Avenue. Jennings says DeFremery Park was only used for about six months, until the center on 12th Street near Campbell Village was reopened.\u003c/p>\n\u003cp>“We used to feed a bunch of kids in the village,” Jennings said, referring to the housing projects.\u003c/p>\n\u003cp>“At that time, Oakland was way below the poverty level,” Jennings told me. “We had people moving from Alabama, Texas, Louisiana and they were living in their cars and stuff like that—car full of people, 7–8 kids!” I ate and thought to myself how Oakland \u003cem>still\u003c/em> has issues with poverty and homelessness. According to the \u003ca href=\"http://everyonehome.org/wp-content/uploads/2016/02/2017-Alameda-County-8.1-2.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">2017 Alameda County Homeless Census Survey, \u003c/a>“Unaccompanied children and transition-age youth represented 18% of the overall (homeless) population in 2017, an increase from 7% in 2015.”\u003c/p>\n\u003cp>Back then, they were fighting many of the same issues. “Kids would go to school hungry, and they’d faint. And the school had put a Band-Aid on the problem, saying, ‘Take this person home so they can get some food.’ Duh, if they would’ve had some food, they would’ve ate some food,” Jennings said.\u003c/p>\n\u003cfigure id=\"attachment_13867597\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867597\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Emory.BillyX-800x532.jpg\" alt=\"Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016.\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Emory.BillyX-768x511.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Panther Minister of Culture Emory Douglas and Black Panther Archivist Billy X Jennings at the West Oakland Library in February 2016. \u003ccite>(Pendarvis Harshaw/KQED)\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> brought up the issue of homelessness in Oakland. Jennings agreed that it’s crazy right now. When I asked what people could gain from looking at the infrastructure of what the Black Panthers did, he went in.\u003c/p>\n\u003cp>“The Black Panther Party was a vanguard organization. The vanguard’s responsibility was to set the table, the rest is up to young people—the rest is up to you. We showed people, this is how you feed people in the community. This is how you defend people in the community, you know?” Jennings took a breath, and continued.\u003c/p>\n\u003cp>“You start programs, you take care of your people, and then you start a clinic. The professional people from our community who went to college, or went and got the skills, you give them an institution where they can provide, where they can help, you know?”\u003c/p>\n\u003cp>He hadn’t taken a bite from his burger in some time. He’d been too busy rattling off reasons why the Panthers’ work was foundational to steps that should be taken today to cure the societal issues faced by Oakland and the greater Bay Area.\u003c/p>\n\u003cp>Imagine: simply relying on community power to fix community problems, while uplifting those who are most impacted—the poor, opposed and marginalized. Imagine us being that solution-minded. We wouldn’t be having a stupid tug-of-war about \u003ca href=\"https://www.kqed.org/news/11777595/what-boulders-say-about-san-franciscos-inability-to-find-a-solution-to-homelessness\" target=\"_blank\" rel=\"noopener noreferrer\">putting boulders on the street\u003c/a> to deter unsheltered people from sleeping there, I’ll tell you that much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Billy X Jennings succinctly put it, “50 years ago, we started a program that has now fed millions of Americans, all because we put social theory into practice.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Rockers Copyslut Soundtrack the Fight for Sex Workers’ Rights",
"headTitle": "Oakland Rockers Copyslut Soundtrack the Fight for Sex Workers’ Rights | KQED",
"content": "\u003cp>In \u003ca href=\"http://www.copyslutband.com/\" target=\"_blank\" rel=\"noopener\">Copyslut\u003c/a>’s new music video for “Makers Mark,” a club becomes a ritualistic space of magic and transcendence.\u003c/p>\n\u003cp>Behind mirrored doors, dancers demonstrate superhuman abilities on the pole, and lap dances cast spells for collective liberation. With people of many gender expressions and body types enthusiastically participating in the bacchanal, performers and audience members become indistinguishable from one another. The revelry takes them to heights of spiritual ecstasy, like a church service might on a Sunday morning—except in this case, they’re leaving covered in glitter.\u003c/p>\n\u003cp>“We’re really about pleasure being healing, and the radical possibilities of how pleasure and letting go of shame can do some of this deep, internal self-love work,” says lead singer Chatz during a recent interview at \u003ca href=\"https://www.airshiplaboratories.com/\" target=\"_blank\" rel=\"noopener\">Airship Laboratories\u003c/a>, a Richmond recording studio where Copyslut laid down tracks for their debut album, due out in early 2020.\u003c/p>\n\u003cp>https://youtu.be/pKauvm0ePUU\u003c/p>\n\u003cp>“Makers Mark,” the latest single from the project, is a feminist reimagining of the legend of La Llorona, a character from Latin American folklore who drowns her children in a river after her husband leaves her. In Copyslut’s telling, La Llorona makes a complicated choice to protect her bloodline from energy-sucking vampires. An homage to guitarist Ray Zamora and art director Reiko Rasch’s Mexican heritage, the band’s hard-rocking anthem communes with La Llorona like a spirit guide for those “strong enough to walk that edge,” or thrive despite experiencing marginalization in society.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Living boldly and authentically, and claiming one’s sexuality as a source of power, are two big themes in Copyslut’s music, which the band members describe as their way of healing personal trauma and advocating for their communities. Chatz, whose soaring voice recalls Ann Wilson of Heart and Corin Tucker of Sleater-Kinney, balances her life as a musician with sex work and activism. In Copyslut, those worlds frequently merge.\u003c/p>\n\u003cp>“I think it’s really cool how Chatz is bringing that sex work element into talking about really deep stuff,” says Zamora, describing the band’s vulnerable yet campy live shows, which combine elements of musical theater, sexuality and rock ’n’ roll. “It re-sensitizes everybody into their bodies and makes people more receptive to ideas, actually being able to take things in on a deep soul level.”\u003c/p>\n\u003cfigure id=\"attachment_13867390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867390\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-800x534.jpg\" alt=\"Chatz (left) and Ray Zamora of Copyslut.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chatz (left) and Ray Zamora of Copyslut on set for the “Makers Mark” music video. \u003ccite>(Kristen Wrzesniewski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When and where Copyslut choose to play is often political. Last June, the band performed for sex workers and their allies at a rally at Oakland City Hall organized by \u003ca href=\"https://bayareaworkerssupport.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Worker Support\u003c/a> (BAWS), a group that advocates for sex workers’ health and safety. BAWS mobilized following the controversial \u003ca href=\"https://www.vice.com/en_us/article/qvxeyq/trump-signed-fosta-sesta-into-law-sex-work\" target=\"_blank\" rel=\"noopener\">FOSTA/SESTA\u003c/a> law of 2018, which—in an attempt to curb online child trafficking—shut down Backpage, Craigslist Personals and other websites where consenting, adult sex workers vetted clients, forcing some of them into much-more-dangerous outdoor work.\u003c/p>\n\u003cp>After speeches from former Oakland mayoral candidate Cat Brooks and activist \u003ca href=\"https://www.kqed.org/news/11106467/why-the-celeste-guap-scandal-isnt-only-about-her-case\" target=\"_blank\" rel=\"noopener\">Celeste Guap\u003c/a>, Copyslut took the stage and performed “Right By You.” It was a particularly emotional moment for Chatz, who describes the song as a letter to her teenage self, who once upon a time was coming to terms with her queerness and contemplating leaving the Mormon church.\u003c/p>\n\u003cp>https://youtu.be/jLRH-l_ZN3A\u003c/p>\n\u003cp>“I’m just seeing this sea of beautiful people in red and black and fishnets—and just the love—and singing songs I’ve written to heal my own internalized whorephobia,” says Chatz of playing at the rally. “I grew up very sheltered, and I experienced it as very brainwashed. So deconstructing some of that, and healing baby [me] … and singing it to people like, ‘Oh my god, you’re healing \u003cem>your\u003c/em> baby, your inner child.’ It was really, really magical.”\u003c/p>\n\u003cp>With all three band members identifying as queer or trans, a crucial part of Copyslut’s mission is illuminating the role sex workers have played in the LGBTQ liberation movement from the beginning. Martha P. Johnson, a prominent activist who emerged from the infamous Stonewall Uprising of 1969, for instance, supported her activism in the nascent gay rights movement through sex work.\u003c/p>\n\u003cp>“I’m transgender, so I feel like there’s a lot of intersectional issues with sex workers and the queer community and trans community,” says bassist Eli Maliwan, a jazz saxophone instructor by day.\u003c/p>\n\u003cfigure id=\"attachment_13867411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-800x534.jpg\" alt='Copyslut bassist Eli Maliwan (center) with lead singer Chatz (left) and guitarist Ray Zamora (far right) and dancers on set for the \"Makers Mark\" music video. Maliwan strums his bass, smiling, while dancers cheer him on.' width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Copyslut bassist Eli Maliwan (center) with lead singer Chatz (left) and guitarist Ray Zamora (far right) and dancers on set for the “Makers Mark” music video. \u003ccite>(Kristen Wrzesniewski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During this year’s Pride Month, which coincided with the 50th anniversary of Stonewall, Copyslut curated and headlined a Noise Pop show called Sex Work is Gay, which raised over $3,000 for \u003ca href=\"https://www.homelessyouthalliance.org/\" target=\"_blank\" rel=\"noopener\">Homeless Youth Alliance\u003c/a>, Chatz says. One of the band’s more recent shows, last month at the historic Phoenix Theater in Petaluma, raised money for \u003ca href=\"https://stjamesinfirmary.org/wordpress/\" target=\"_blank\" rel=\"noopener\">St. James Infirmary\u003c/a>, an LGBTQ-inclusive healthcare nonprofit serving the sex worker community.\u003c/p>\n\u003cp>As sex work gains visibility in mainstream media thanks to the box office smash \u003cem>Hustlers\u003c/em> and Emmy-winning TV series \u003cem>Pose\u003c/em>, Copyslut is playing an important role in expanding the conversation. Chatz and author and educator Vanessa Carlisle co-edited the zine \u003ca href=\"http://www.copyslutband.com/store/p8/Don%27t_Hate_My_Heels_Zine.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Don’t Hate My Heels: A Confrontation with Whorephobia in Which the Whores Win \u003c/em>\u003c/a>(with illustrations by Rasch, who also does the band’s merch and album art). \u003cspan style=\"font-weight: 400\">With personal stories from sex workers navigating higher education, the music industry and political organizing, the zine was a finalist in the Broken Pencil Zine Awards, which celebrate independent publishing.\u003c/span>\u003c/p>\n\u003cp>Advocating for decriminalization of sex work rather than legalization, \u003cem>Don’t Hate My Heels\u003c/em> is a must-read for anyone curious about how sex workers’ fight for dignity and safety fits into other social movements, including anarchism, labor and gender equality.\u003c/p>\n\u003cp>Those struggles aren’t as separate as people think, the zine explains, and Copyslut’s multifaceted work is all about illuminating the intersections.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyslut performs with Wizard Apprentice, Louda and Blacker Face at Bottom of the Hill in San Francisco on Nov. 12. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10066\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "They've played rallies and benefits, and published an educational zine. Now, Copyslut is working on their debut album. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"http://www.copyslutband.com/\" target=\"_blank\" rel=\"noopener\">Copyslut\u003c/a>’s new music video for “Makers Mark,” a club becomes a ritualistic space of magic and transcendence.\u003c/p>\n\u003cp>Behind mirrored doors, dancers demonstrate superhuman abilities on the pole, and lap dances cast spells for collective liberation. With people of many gender expressions and body types enthusiastically participating in the bacchanal, performers and audience members become indistinguishable from one another. The revelry takes them to heights of spiritual ecstasy, like a church service might on a Sunday morning—except in this case, they’re leaving covered in glitter.\u003c/p>\n\u003cp>“We’re really about pleasure being healing, and the radical possibilities of how pleasure and letting go of shame can do some of this deep, internal self-love work,” says lead singer Chatz during a recent interview at \u003ca href=\"https://www.airshiplaboratories.com/\" target=\"_blank\" rel=\"noopener\">Airship Laboratories\u003c/a>, a Richmond recording studio where Copyslut laid down tracks for their debut album, due out in early 2020.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/pKauvm0ePUU'\n title='//www.youtube.com/embed/pKauvm0ePUU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Makers Mark,” the latest single from the project, is a feminist reimagining of the legend of La Llorona, a character from Latin American folklore who drowns her children in a river after her husband leaves her. In Copyslut’s telling, La Llorona makes a complicated choice to protect her bloodline from energy-sucking vampires. An homage to guitarist Ray Zamora and art director Reiko Rasch’s Mexican heritage, the band’s hard-rocking anthem communes with La Llorona like a spirit guide for those “strong enough to walk that edge,” or thrive despite experiencing marginalization in society.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Living boldly and authentically, and claiming one’s sexuality as a source of power, are two big themes in Copyslut’s music, which the band members describe as their way of healing personal trauma and advocating for their communities. Chatz, whose soaring voice recalls Ann Wilson of Heart and Corin Tucker of Sleater-Kinney, balances her life as a musician with sex work and activism. In Copyslut, those worlds frequently merge.\u003c/p>\n\u003cp>“I think it’s really cool how Chatz is bringing that sex work element into talking about really deep stuff,” says Zamora, describing the band’s vulnerable yet campy live shows, which combine elements of musical theater, sexuality and rock ’n’ roll. “It re-sensitizes everybody into their bodies and makes people more receptive to ideas, actually being able to take things in on a deep soul level.”\u003c/p>\n\u003cfigure id=\"attachment_13867390\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867390\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-800x534.jpg\" alt=\"Chatz (left) and Ray Zamora of Copyslut.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/Photo-Aug-05-1-39-58-AM.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chatz (left) and Ray Zamora of Copyslut on set for the “Makers Mark” music video. \u003ccite>(Kristen Wrzesniewski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When and where Copyslut choose to play is often political. Last June, the band performed for sex workers and their allies at a rally at Oakland City Hall organized by \u003ca href=\"https://bayareaworkerssupport.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Worker Support\u003c/a> (BAWS), a group that advocates for sex workers’ health and safety. BAWS mobilized following the controversial \u003ca href=\"https://www.vice.com/en_us/article/qvxeyq/trump-signed-fosta-sesta-into-law-sex-work\" target=\"_blank\" rel=\"noopener\">FOSTA/SESTA\u003c/a> law of 2018, which—in an attempt to curb online child trafficking—shut down Backpage, Craigslist Personals and other websites where consenting, adult sex workers vetted clients, forcing some of them into much-more-dangerous outdoor work.\u003c/p>\n\u003cp>After speeches from former Oakland mayoral candidate Cat Brooks and activist \u003ca href=\"https://www.kqed.org/news/11106467/why-the-celeste-guap-scandal-isnt-only-about-her-case\" target=\"_blank\" rel=\"noopener\">Celeste Guap\u003c/a>, Copyslut took the stage and performed “Right By You.” It was a particularly emotional moment for Chatz, who describes the song as a letter to her teenage self, who once upon a time was coming to terms with her queerness and contemplating leaving the Mormon church.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jLRH-l_ZN3A'\n title='//www.youtube.com/embed/jLRH-l_ZN3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’m just seeing this sea of beautiful people in red and black and fishnets—and just the love—and singing songs I’ve written to heal my own internalized whorephobia,” says Chatz of playing at the rally. “I grew up very sheltered, and I experienced it as very brainwashed. So deconstructing some of that, and healing baby [me] … and singing it to people like, ‘Oh my god, you’re healing \u003cem>your\u003c/em> baby, your inner child.’ It was really, really magical.”\u003c/p>\n\u003cp>With all three band members identifying as queer or trans, a crucial part of Copyslut’s mission is illuminating the role sex workers have played in the LGBTQ liberation movement from the beginning. Martha P. Johnson, a prominent activist who emerged from the infamous Stonewall Uprising of 1969, for instance, supported her activism in the nascent gay rights movement through sex work.\u003c/p>\n\u003cp>“I’m transgender, so I feel like there’s a lot of intersectional issues with sex workers and the queer community and trans community,” says bassist Eli Maliwan, a jazz saxophone instructor by day.\u003c/p>\n\u003cfigure id=\"attachment_13867411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-800x534.jpg\" alt='Copyslut bassist Eli Maliwan (center) with lead singer Chatz (left) and guitarist Ray Zamora (far right) and dancers on set for the \"Makers Mark\" music video. Maliwan strums his bass, smiling, while dancers cheer him on.' width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/Makers-Mark-Eli-BTS_kwrez.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Copyslut bassist Eli Maliwan (center) with lead singer Chatz (left) and guitarist Ray Zamora (far right) and dancers on set for the “Makers Mark” music video. \u003ccite>(Kristen Wrzesniewski)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During this year’s Pride Month, which coincided with the 50th anniversary of Stonewall, Copyslut curated and headlined a Noise Pop show called Sex Work is Gay, which raised over $3,000 for \u003ca href=\"https://www.homelessyouthalliance.org/\" target=\"_blank\" rel=\"noopener\">Homeless Youth Alliance\u003c/a>, Chatz says. One of the band’s more recent shows, last month at the historic Phoenix Theater in Petaluma, raised money for \u003ca href=\"https://stjamesinfirmary.org/wordpress/\" target=\"_blank\" rel=\"noopener\">St. James Infirmary\u003c/a>, an LGBTQ-inclusive healthcare nonprofit serving the sex worker community.\u003c/p>\n\u003cp>As sex work gains visibility in mainstream media thanks to the box office smash \u003cem>Hustlers\u003c/em> and Emmy-winning TV series \u003cem>Pose\u003c/em>, Copyslut is playing an important role in expanding the conversation. Chatz and author and educator Vanessa Carlisle co-edited the zine \u003ca href=\"http://www.copyslutband.com/store/p8/Don%27t_Hate_My_Heels_Zine.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Don’t Hate My Heels: A Confrontation with Whorephobia in Which the Whores Win \u003c/em>\u003c/a>(with illustrations by Rasch, who also does the band’s merch and album art). \u003cspan style=\"font-weight: 400\">With personal stories from sex workers navigating higher education, the music industry and political organizing, the zine was a finalist in the Broken Pencil Zine Awards, which celebrate independent publishing.\u003c/span>\u003c/p>\n\u003cp>Advocating for decriminalization of sex work rather than legalization, \u003cem>Don’t Hate My Heels\u003c/em> is a must-read for anyone curious about how sex workers’ fight for dignity and safety fits into other social movements, including anarchism, labor and gender equality.\u003c/p>\n\u003cp>Those struggles aren’t as separate as people think, the zine explains, and Copyslut’s multifaceted work is all about illuminating the intersections.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyslut performs with Wizard Apprentice, Louda and Blacker Face at Bottom of the Hill in San Francisco on Nov. 12. Details \u003ca href=\"http://www.stubmatic.com/bottomofthehill/event/10066\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "finally-a-legal-sideshow",
"title": "Finally, a Legal Sideshow",
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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\">M\u003c/span>y niece, Talyah, walked ahead of me in white sunglasses and AirPods, a 17-year old black girl with the edges of her hair laid to perfection, telling me about the process of perfecting them. She wasn’t even really tripping off of \u003ca href=\"https://www.facebook.com/events/san-joaquin-county-fairgrounds/wettfest-2k19/2339571816120268/\" target=\"_blank\" rel=\"noopener noreferrer\">Wettfest \u003c/a>in Stockton—car shows aren’t her thing. But when she looked through the tire smoke rising from the “donut pit,” and witnessed a dirty–Sprite-colored Chevy Silverado SS getting sideways, she turned back to me, pointed, and said, “I’ve been to car shows, but none of them had \u003cem>this\u003c/em>!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>She wedged herself into the crowd to get a front-row view at the edge of the barricade, where we watched cars for a few hours in the donut pit, or donut box, hosted at the San Joaquin Fairgrounds on a square of concrete no bigger than a football field just made for people to pull up and swing donuts.\u003c/p>\n\u003cp>I could hardly believe my eyes. Meanwhile, at the start of September, \u003ca href=\"https://www.sfgate.com/news/bayarea/article/Monday-Morning-News-Roundup-14406858.php\" target=\"_blank\" rel=\"noopener noreferrer\">numerous law enforcement agencies\u003c/a> all around the Bay Area mobilized to crack down on sideshows. This past weekend, the Oakland Police Department released yet another notice that they’d patrol certain intersections, and join with other outfits from around the region to quell illegal sideshow activities in Oakland.\u003c/p>\n\u003cp>I’ve written two pieces about sideshows, one on how \u003ca href=\"https://www.kqed.org/arts/13855641/sideshows-and-the-extractive-economy\" target=\"_blank\" rel=\"noopener noreferrer\">guerilla sideshows exemplify how wasteful we are\u003c/a>, both as officers and citizens, and one raising \u003ca href=\"https://www.kqed.org/arts/13824571/oakland-sideshows-legalize-macarthur\" target=\"_blank\" rel=\"noopener noreferrer\">the possibility of making sideshows legal\u003c/a>.\u003c/p>\n\u003cp>I was just pipe dreaming until I heard the roar of an engine this past Sunday in Stockton, where cars were getting sideways in the donut pit. Legally.\u003c/p>\n\u003cfigure id=\"attachment_13867033\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC7683-800x535.jpg\" alt=\"Sitting Clean at Wettfest in Stockton\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sitting clean at Wettfest in Stockton. \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\">S\u003c/span>ideshows are an impromptu car show, in which drivers and spectators commandeer an intersection or highway in order to burn out, swing donuts, spin Figure-8s and more. They can attract hundreds of spectators, and they’ve been happening here since at least the 1980s. The cat-and-mouse dance between local authorities and sideshow goers has been going on just as long.\u003c/p>\n\u003cp>While this aspect of car culture is deeply intertwined with Oakland culture—and the culture of Northern California as a whole—it’s also somewhat dangerous, can become very chaotic, and on the streets, it’s illegal.\u003c/p>\n\u003cp>Which made the event in Stockton a possible blueprint for a way to do it legally. Attendees, like my niece, paid $20 to enter Wettfest, a family-friendly, annual car show thrown by DJ Tri Tip, Mudville Clothing Co. and Mike Alvaro. There were low-riders, hydraulic hopping competitions, big motorcycles, American-made candy-painted muscle cars, overpriced barbecue plates and Mexican food. There was even a kid’s zone with an astro jump, kiddie pool, the whole nine.\u003c/p>\n\u003cp>If you wanted to swing donuts, you had to pay $100. That’s what San Jose native Chris Coca did. I caught him and his 1997 BMW 328i (with the Louis Vuitton pattern on the interior door panel) while we waited in line with what I’m told was nearly 100 other cars. Gearing up for his second trip to the donut pit, he told me he pulled up early that morning in anticipation. After all, this is his catharsis.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9dM5hETErGI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I don’t go to sideshows because I’m not trying to get caught up, I’m not trying to get this thing impounded,” Coca said, pointing to his car. “But having somewhere to just let myself loose—man, I love this shit.”\u003c/p>\n\u003cp>As the tires of a car getting sideways screeched in the background, Coca continued. “This is what keeps me going,” he said. “Only once a month is when I get to get out, but when I do get out, this is the only thing on my mind—I’m relaxed.”\u003c/p>\n\u003cp>I asked Coca if he thinks legalization would help with the sideshow issue plaguing Oakland. His answer was one I hadn’t heard before. “It’s like a skatepark, you know?” he offered. “There’s still going to be some bad shit going on, but it’d be a lot more cool.”\u003c/p>\n\u003cp>He’s got a point: without skateparks, skaters would just be hitting ollies on school campuses and outside of office lobbies. “Plus skateparks give you a place where you can really shine,” Coca said. “Where you can really go all in, you know?”\u003c/p>\n\u003cfigure id=\"attachment_13867034\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867034\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC7724-800x535.jpg\" alt=\"Chris Coca\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Coca sitting in his BMW, awaiting his next turn. \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\">G\u003c/span>oing all in. That’s what Robert Pascua, Outlaw Drift Series organizer and the force behind the donut pit, says he wants drivers to do. We talked under the shade of the old horse stable, adjacent to the donut pit, about his “drifting” events—an alternative to illegal sideshows.\u003c/p>\n\u003cp>“We’re not going to get everyone off of the streets. I mean, I came from the streets as well, and only a few of us turned into that person who takes it to a professional level,” said Pascua, who also works as a professional stunt driver. “There will be ones that do take it and run with it. And the ones that don’t—they’ll be more a mix—they’ll hit the drifting events, and still go out in the streets. And it’s cool, nothing is wrong with that.”\u003c/p>\n\u003cp>As we talked, another car started swangin’ donuts in the nearly all-black-covered square of concrete as the crowd of people on all sides of the square watched.\u003c/p>\n\u003cp>“A lot of our good talent comes from sideshows, a lot of ‘em have a general knowledge of car control that most people don’t know,” Pascua explained. “And so they excel really great in the drifting world, in my opinion.”\u003c/p>\n\u003cfigure id=\"attachment_13867035\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867035\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC7743-800x535.jpg\" alt=\"Robert Pascua\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pascua, the force behind the donut pit.\u003c/figcaption>\u003c/figure>\n\u003cp>Pascua told me how this organized daytime sideshow is legal, covered as an “active motive sport” in the speedway ownership’s contracts and multimillion dollar insurance policy. The plot of land is already home to a dirt track, a go-kart track and a sprint car track; the majority of the land is permitted for automobiles. The donut pit activity falls under the umbrella of what’s allowed at a racetrack.\u003c/p>\n\u003cp>“We contract with 99 Speedway, so we’re under racetrack policy, which is why everybody has to have helmets, which is why everybody has to have certain criteria to come in here. So, we basically treat the donut pit kind of like a racetrack, with less rules,” said Pascua. “We’re a little more lenient, just to get people off the street and go have fun.”\u003c/p>\n\u003cp>He also told me about other places that host what are essentially legal sideshows, like Sonoma Speedway’s Wednesday Night Drag Racing, Sacramento’s Sac Speed Shop, and another one in Reno.\u003c/p>\n\u003cp>I had no idea how common this was. Pascua is in his second year of running the donut pit at Wettfest. He’s been doing events like this for over five years, with a monthly series, even. And he says he’s tried to get this kind of thing going in Oakland.\u003c/p>\n\u003cp>https://www.instagram.com/p/BoFs59iFdpF/\u003c/p>\n\u003cp>“Oakland doesn’t have a racetrack,” Pascua said, simply. “We’ve looked into it. I’ve looked into it. And just, in going through the city, we’d have to find somewhere that’s realistic. And, it’s just a lot of money.”\u003c/p>\n\u003cp>He told me that for the past couple of years, his venture was operating in the red. He’s seeing revenue now, thanks to sponsors. But the list of expenses isn’t short, starting with the concrete barricades called K-Walls.\u003c/p>\n\u003cp>“We have to pay for the K-Walls, the rental of the forklift, we have to move the K-Walls, I have to take time off of work just to do it,” said Pascua. “I have nine people on my staff. Not even just nine staff, I have two EMTs, fire safety with the fire truck,” said Pascua.\u003c/p>\n\u003cp>Not too long after that point in our conversation, one of the cars in the pit loudly hit a K-Wall, not too far from my niece. The driver tried to keep going, but fire safety came out in a vehicle with a comically over-sized front bumper to push the vehicle out of the circle.\u003c/p>\n\u003cp>Pascua explained to me that once a car hits a wall, it’s supposed to stop driving. Of course, sometimes there’s no option.\u003c/p>\n\u003cp>“It’s either your car gives up or your tires give up, and that’s my whole goal: to give people a place to let it all go,” said Pascua.\u003c/p>\n\u003cfigure id=\"attachment_13867052\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC7736-800x535.jpg\" alt=\"Who knew you could get sideways in a forklift!?\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Who knew you could get sideways in a forklift!? \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\">S\u003c/span>ideshows are a sort of vehicular ballet and mini destruction derby. The goal is to swing donuts and let loose, but it’s done in a myriad of elegant ways. I saw someone in a beat up Volvo. Someone else got down in a newer Mustang. At one point, Pascua walked around, using the red flag like a matador’s cape, signaling for a driver to swing close to the K-Wall without touching it—the audience cheered. I was anxious, watching as the car came close, but didn’t scrape.\u003c/p>\n\u003cp>Dangerous? Yeah, I mean, dirt got flung and rubber pieces got tossed up. Your family physician probably wound’t recommend inhaling tire smoke. But I saw lots of folks out there with their kids—and I’m talking toddlers.\u003c/p>\n\u003cp>I pointed out my teenaged niece in the front row, and asked Pascua about the wide range of people in attendance.\u003c/p>\n\u003cp>“My goal is to get someone out here who never has seen this, and starts asking questions. You start asking questions, and you start wanting to know,” said Pascua, starting to walk away and tend to the needs of the event. One of the K-Walls had moved when the car hit it. Pascua jumped in a forklift to fix it back.\u003c/p>\n\u003cp>After doing so, he did a few swerves and got sideways in the damn forklift. Didn’t even know that was possible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "A visit to the donut pit in Stockton, which could be a blueprint for legalized sideshows in Oakland.",
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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\">M\u003c/span>y niece, Talyah, walked ahead of me in white sunglasses and AirPods, a 17-year old black girl with the edges of her hair laid to perfection, telling me about the process of perfecting them. She wasn’t even really tripping off of \u003ca href=\"https://www.facebook.com/events/san-joaquin-county-fairgrounds/wettfest-2k19/2339571816120268/\" target=\"_blank\" rel=\"noopener noreferrer\">Wettfest \u003c/a>in Stockton—car shows aren’t her thing. But when she looked through the tire smoke rising from the “donut pit,” and witnessed a dirty–Sprite-colored Chevy Silverado SS getting sideways, she turned back to me, pointed, and said, “I’ve been to car shows, but none of them had \u003cem>this\u003c/em>!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>She wedged herself into the crowd to get a front-row view at the edge of the barricade, where we watched cars for a few hours in the donut pit, or donut box, hosted at the San Joaquin Fairgrounds on a square of concrete no bigger than a football field just made for people to pull up and swing donuts.\u003c/p>\n\u003cp>I could hardly believe my eyes. Meanwhile, at the start of September, \u003ca href=\"https://www.sfgate.com/news/bayarea/article/Monday-Morning-News-Roundup-14406858.php\" target=\"_blank\" rel=\"noopener noreferrer\">numerous law enforcement agencies\u003c/a> all around the Bay Area mobilized to crack down on sideshows. This past weekend, the Oakland Police Department released yet another notice that they’d patrol certain intersections, and join with other outfits from around the region to quell illegal sideshow activities in Oakland.\u003c/p>\n\u003cp>I’ve written two pieces about sideshows, one on how \u003ca href=\"https://www.kqed.org/arts/13855641/sideshows-and-the-extractive-economy\" target=\"_blank\" rel=\"noopener noreferrer\">guerilla sideshows exemplify how wasteful we are\u003c/a>, both as officers and citizens, and one raising \u003ca href=\"https://www.kqed.org/arts/13824571/oakland-sideshows-legalize-macarthur\" target=\"_blank\" rel=\"noopener noreferrer\">the possibility of making sideshows legal\u003c/a>.\u003c/p>\n\u003cp>I was just pipe dreaming until I heard the roar of an engine this past Sunday in Stockton, where cars were getting sideways in the donut pit. Legally.\u003c/p>\n\u003cfigure id=\"attachment_13867033\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867033\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC7683-800x535.jpg\" alt=\"Sitting Clean at Wettfest in Stockton\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7683.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sitting clean at Wettfest in Stockton. \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\">S\u003c/span>ideshows are an impromptu car show, in which drivers and spectators commandeer an intersection or highway in order to burn out, swing donuts, spin Figure-8s and more. They can attract hundreds of spectators, and they’ve been happening here since at least the 1980s. The cat-and-mouse dance between local authorities and sideshow goers has been going on just as long.\u003c/p>\n\u003cp>While this aspect of car culture is deeply intertwined with Oakland culture—and the culture of Northern California as a whole—it’s also somewhat dangerous, can become very chaotic, and on the streets, it’s illegal.\u003c/p>\n\u003cp>Which made the event in Stockton a possible blueprint for a way to do it legally. Attendees, like my niece, paid $20 to enter Wettfest, a family-friendly, annual car show thrown by DJ Tri Tip, Mudville Clothing Co. and Mike Alvaro. There were low-riders, hydraulic hopping competitions, big motorcycles, American-made candy-painted muscle cars, overpriced barbecue plates and Mexican food. There was even a kid’s zone with an astro jump, kiddie pool, the whole nine.\u003c/p>\n\u003cp>If you wanted to swing donuts, you had to pay $100. That’s what San Jose native Chris Coca did. I caught him and his 1997 BMW 328i (with the Louis Vuitton pattern on the interior door panel) while we waited in line with what I’m told was nearly 100 other cars. Gearing up for his second trip to the donut pit, he told me he pulled up early that morning in anticipation. After all, this is his catharsis.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/9dM5hETErGI'\n title='//www.youtube.com/embed/9dM5hETErGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I don’t go to sideshows because I’m not trying to get caught up, I’m not trying to get this thing impounded,” Coca said, pointing to his car. “But having somewhere to just let myself loose—man, I love this shit.”\u003c/p>\n\u003cp>As the tires of a car getting sideways screeched in the background, Coca continued. “This is what keeps me going,” he said. “Only once a month is when I get to get out, but when I do get out, this is the only thing on my mind—I’m relaxed.”\u003c/p>\n\u003cp>I asked Coca if he thinks legalization would help with the sideshow issue plaguing Oakland. His answer was one I hadn’t heard before. “It’s like a skatepark, you know?” he offered. “There’s still going to be some bad shit going on, but it’d be a lot more cool.”\u003c/p>\n\u003cp>He’s got a point: without skateparks, skaters would just be hitting ollies on school campuses and outside of office lobbies. “Plus skateparks give you a place where you can really shine,” Coca said. “Where you can really go all in, you know?”\u003c/p>\n\u003cfigure id=\"attachment_13867034\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867034\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC7724-800x535.jpg\" alt=\"Chris Coca\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7724.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chris Coca sitting in his BMW, awaiting his next turn. \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\">G\u003c/span>oing all in. That’s what Robert Pascua, Outlaw Drift Series organizer and the force behind the donut pit, says he wants drivers to do. We talked under the shade of the old horse stable, adjacent to the donut pit, about his “drifting” events—an alternative to illegal sideshows.\u003c/p>\n\u003cp>“We’re not going to get everyone off of the streets. I mean, I came from the streets as well, and only a few of us turned into that person who takes it to a professional level,” said Pascua, who also works as a professional stunt driver. “There will be ones that do take it and run with it. And the ones that don’t—they’ll be more a mix—they’ll hit the drifting events, and still go out in the streets. And it’s cool, nothing is wrong with that.”\u003c/p>\n\u003cp>As we talked, another car started swangin’ donuts in the nearly all-black-covered square of concrete as the crowd of people on all sides of the square watched.\u003c/p>\n\u003cp>“A lot of our good talent comes from sideshows, a lot of ‘em have a general knowledge of car control that most people don’t know,” Pascua explained. “And so they excel really great in the drifting world, in my opinion.”\u003c/p>\n\u003cfigure id=\"attachment_13867035\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867035\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC7743-800x535.jpg\" alt=\"Robert Pascua\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7743.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Pascua, the force behind the donut pit.\u003c/figcaption>\u003c/figure>\n\u003cp>Pascua told me how this organized daytime sideshow is legal, covered as an “active motive sport” in the speedway ownership’s contracts and multimillion dollar insurance policy. The plot of land is already home to a dirt track, a go-kart track and a sprint car track; the majority of the land is permitted for automobiles. The donut pit activity falls under the umbrella of what’s allowed at a racetrack.\u003c/p>\n\u003cp>“We contract with 99 Speedway, so we’re under racetrack policy, which is why everybody has to have helmets, which is why everybody has to have certain criteria to come in here. So, we basically treat the donut pit kind of like a racetrack, with less rules,” said Pascua. “We’re a little more lenient, just to get people off the street and go have fun.”\u003c/p>\n\u003cp>He also told me about other places that host what are essentially legal sideshows, like Sonoma Speedway’s Wednesday Night Drag Racing, Sacramento’s Sac Speed Shop, and another one in Reno.\u003c/p>\n\u003cp>I had no idea how common this was. Pascua is in his second year of running the donut pit at Wettfest. He’s been doing events like this for over five years, with a monthly series, even. And he says he’s tried to get this kind of thing going in Oakland.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Oakland doesn’t have a racetrack,” Pascua said, simply. “We’ve looked into it. I’ve looked into it. And just, in going through the city, we’d have to find somewhere that’s realistic. And, it’s just a lot of money.”\u003c/p>\n\u003cp>He told me that for the past couple of years, his venture was operating in the red. He’s seeing revenue now, thanks to sponsors. But the list of expenses isn’t short, starting with the concrete barricades called K-Walls.\u003c/p>\n\u003cp>“We have to pay for the K-Walls, the rental of the forklift, we have to move the K-Walls, I have to take time off of work just to do it,” said Pascua. “I have nine people on my staff. Not even just nine staff, I have two EMTs, fire safety with the fire truck,” said Pascua.\u003c/p>\n\u003cp>Not too long after that point in our conversation, one of the cars in the pit loudly hit a K-Wall, not too far from my niece. The driver tried to keep going, but fire safety came out in a vehicle with a comically over-sized front bumper to push the vehicle out of the circle.\u003c/p>\n\u003cp>Pascua explained to me that once a car hits a wall, it’s supposed to stop driving. Of course, sometimes there’s no option.\u003c/p>\n\u003cp>“It’s either your car gives up or your tires give up, and that’s my whole goal: to give people a place to let it all go,” said Pascua.\u003c/p>\n\u003cfigure id=\"attachment_13867052\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13867052\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/DSC7736-800x535.jpg\" alt=\"Who knew you could get sideways in a forklift!?\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/DSC7736.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Who knew you could get sideways in a forklift!? \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\">S\u003c/span>ideshows are a sort of vehicular ballet and mini destruction derby. The goal is to swing donuts and let loose, but it’s done in a myriad of elegant ways. I saw someone in a beat up Volvo. Someone else got down in a newer Mustang. At one point, Pascua walked around, using the red flag like a matador’s cape, signaling for a driver to swing close to the K-Wall without touching it—the audience cheered. I was anxious, watching as the car came close, but didn’t scrape.\u003c/p>\n\u003cp>Dangerous? Yeah, I mean, dirt got flung and rubber pieces got tossed up. Your family physician probably wound’t recommend inhaling tire smoke. But I saw lots of folks out there with their kids—and I’m talking toddlers.\u003c/p>\n\u003cp>I pointed out my teenaged niece in the front row, and asked Pascua about the wide range of people in attendance.\u003c/p>\n\u003cp>“My goal is to get someone out here who never has seen this, and starts asking questions. You start asking questions, and you start wanting to know,” said Pascua, starting to walk away and tend to the needs of the event. One of the K-Walls had moved when the car hit it. Pascua jumped in a forklift to fix it back.\u003c/p>\n\u003cp>After doing so, he did a few swerves and got sideways in the damn forklift. Didn’t even know that was possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Note: This episode originally aired April 5, 2019.\u003c/em>\u003c/p>\n\u003cp>Quiet as it’s kept, the Bay Area’s big secret is that we’re a divided place.\u003c/p>\n\u003cp>The prevailing narrative is that this is the most liberal and thus most equal place in the United States. Yet class and race still separate us in the Bay Area, just like the rest of the country. And the arts community is no different.\u003c/p>\n\u003cp>Enter Astu.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A young soul singer with an old soul, Astu’s raspy smooth delivery sounds like it’s coming straight off of a vinyl record. It’s a sound borne of life experience: after studying to become a preacher and worship leader, she left Oklahoma to return to the Bay Area—and \u003ca href=\"https://www.kqed.org/arts/13825157/how-astu-left-the-pulpit-and-found-herself-in-rb\" target=\"_blank\" rel=\"noopener noreferrer\">left the pulpit for the R&B world\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13854361\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854361\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-800x535.jpg\" alt=\"Astu performing at a Nia Wilson tribute event at Red Bay Coffee in Oakland last year.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/LRG__DSC2641.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Astu performing at a Nia Wilson tribute event at Red Bay Coffee in Oakland last year. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years later, we’re wondering how she navigates the invisible lines that separate people in the Bay Area. In the past year, she’s performed at Berkeley’s UC Theatre, Apple’s flagship store in San Francisco, and the underground venue Spirithaus Gallery in West Oakland. Personally, I was blown away watching her perform at a \u003ca href=\"https://www.instagram.com/p/Bl1CJ95HmUw/?utm_source=ig_web_button_share_sheet\">Nia Wilson tribute\u003c/a> held late last summer at Red Bay Coffee’s headquarters in East Oakland.\u003c/p>\n\u003cp>I recently caught up with Astu at Zoo Labs in West Oakland, where she’s just ended an artist’s residency. We had a little chat about arts, community and the delightful, insightful skits on her latest album, \u003cem>\u003ca href=\"https://soundcloud.com/astumusicofficial/sets/patterns\">Patterns\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>To hear all about it, listen the audio link above.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"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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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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