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"content": "\u003cp>\u003cstrong>By Pendarvis Harshaw\u003c/strong>\u003c/p>\n\u003cp>The 17th annual Oakland International Film Festival is happening Sept. 19–Sept. 29, with 25 rare, independent films screening at various venues around town, including Regal Jack London, the Grand Lake Theater, Holy Names University, the Oakland Asian Cultural Center and an outdoor venue that’s yet to be announced.\u003c/p>\n\u003cp>There’s a wide array of films. I’ve watched a few of them, and from what I’ve seen, let me tell you: bring a tissue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.imdb.com/title/tt7075240/\" target=\"_blank\" rel=\"noopener\">\u003cem>Lalo’s House\u003c/em>\u003c/a> by Kelley Kali was one of the festival’s heavier films. Although hard to watch because of the subject matter—people posing as missionaries while sex-trafficking children in Haiti—it was nonetheless a good movie. It was so well shot, and the plot was short but gave enough to the audience to draw them in. That, coupled with engaging acting, provoked my frustration as I wrapped my mind around the injustices playing out on screen. And I finished the film, one that, given the subject matter, I’d usually turn away from.\u003c/p>\n\u003cp>Another heavy topic, the oppression of African Americans, was a central theme in Froi Cuesta’s film \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=G7ayZyGMc8Q\" target=\"_blank\" rel=\"noopener\">Unalienable Rights\u003c/a>, \u003c/em>an animated tale that looks back at the confrontation between the MOVE Organization and the Philadelphia Police Department in 1978. That event served as a precursor to another incident in 1985, in which authorities dropped a bomb on a house where members of MOVE were barricaded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leon Lozano’s film, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt10028182/\" target=\"_blank\" rel=\"noopener\">My Father Belize\u003c/a>, \u003c/em>was too much for me. Not because of the heavy subject matter, but because it was a heavy-handed approach to telling a story about ending the cycle of fathers stepping out on their kids. The overall message was cool, but the delivery wasn’t believable. Too many plot twists in too short a time.\u003c/p>\n\u003cfigure id=\"attachment_13865970\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865970 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/0-2-800x509.jpg\" alt=\"\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film ‘Decade of Fire’ (directed by Gretchen Hildebran and Vivian Vazquez), which screens at the Oakland International Film Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"css-901oao css-16my406 css-bfa6kz r-jwli3a r-1qd0xha r-1vr29t4 r-ad9z0x r-bcqeeo r-3s2u2q r-qvutc0\">\u003cspan class=\"css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0\">Lucas Guilkey’s\u003c/span>\u003c/span> documentary \u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\">\u003cem>What\u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\"> Happened to Dujuan Armstrong?\u003c/a> \u003c/i>hit me the hardest. I’ve been following Armstrong’s story for some time: he was a young man from Oakland who was found dead in Santa Rita jail in June of last year. I even did \u003ca href=\"https://www.kqed.org/arts/13860615/rightnowish-urban-peace-movements-effort-to-combat-injustices-in-alameda-county\" target=\"_blank\" rel=\"noopener\">a radio piece\u003c/a> a few months ago focused on a group of young people working to bring attention to his case.\u003c/p>\n\u003cp>I knew a bit about how Armstrong had arrived at Santa Rita: he was looking to serve a weekend and ended up dead before Sunday. I knew the coroner ruled that\u003ca href=\"https://www.eastbayexpress.com/oakland/santa-rita-inmate-suffocated-from-restraints-used-by-deputies/Content?oid=26891586\" target=\"_blank\" rel=\"noopener\"> asphyxiation was the cause of death\u003c/a>.\u003c/p>\n\u003cp>I also knew that Armstrong was just one of the \u003ca href=\"https://www.eastbayexpress.com/oakland/the-most-dangerous-place-in-alameda-county/Content?oid=26245173\" target=\"_blank\" rel=\"noopener\">35-plus inmates\u003c/a> who’ve died in custody at an Alameda County jail in the past five years.\u003c/p>\n\u003cp>But there’s a lot I didn’t know, like the fact \u003ca href=\"https://www.alamedacountysheriff.org/dc_srj.php\" target=\"_blank\" rel=\"noopener\">Santa Rita is the 5th largest jail\u003c/a> in the country. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leon Lozano’s film, \u003cem>\u003ca href=\"https://www.imdb.com/title/tt10028182/\" target=\"_blank\" rel=\"noopener\">My Father Belize\u003c/a>, \u003c/em>was too much for me. Not because of the heavy subject matter, but because it was a heavy-handed approach to telling a story about ending the cycle of fathers stepping out on their kids. The overall message was cool, but the delivery wasn’t believable. Too many plot twists in too short a time.\u003c/p>\n\u003cfigure id=\"attachment_13865970\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13865970 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/0-2-800x509.jpg\" alt=\"\" width=\"800\" height=\"509\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/0-2-768x489.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from the film ‘Decade of Fire’ (directed by Gretchen Hildebran and Vivian Vazquez), which screens at the Oakland International Film Festival\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan class=\"css-901oao css-16my406 css-bfa6kz r-jwli3a r-1qd0xha r-1vr29t4 r-ad9z0x r-bcqeeo r-3s2u2q r-qvutc0\">\u003cspan class=\"css-901oao css-16my406 r-1qd0xha r-ad9z0x r-bcqeeo r-qvutc0\">Lucas Guilkey’s\u003c/span>\u003c/span> documentary \u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\">\u003cem>What\u003c/em>\u003c/a>\u003ci>\u003ca href=\"https://www.facebook.com/watch/?v=467879927385650\" target=\"_blank\" rel=\"noopener\"> Happened to Dujuan Armstrong?\u003c/a> \u003c/i>hit me the hardest. I’ve been following Armstrong’s story for some time: he was a young man from Oakland who was found dead in Santa Rita jail in June of last year. I even did \u003ca href=\"https://www.kqed.org/arts/13860615/rightnowish-urban-peace-movements-effort-to-combat-injustices-in-alameda-county\" target=\"_blank\" rel=\"noopener\">a radio piece\u003c/a> a few months ago focused on a group of young people working to bring attention to his case.\u003c/p>\n\u003cp>I knew a bit about how Armstrong had arrived at Santa Rita: he was looking to serve a weekend and ended up dead before Sunday. I knew the coroner ruled that\u003ca href=\"https://www.eastbayexpress.com/oakland/santa-rita-inmate-suffocated-from-restraints-used-by-deputies/Content?oid=26891586\" target=\"_blank\" rel=\"noopener\"> asphyxiation was the cause of death\u003c/a>.\u003c/p>\n\u003cp>I also knew that Armstrong was just one of the \u003ca href=\"https://www.eastbayexpress.com/oakland/the-most-dangerous-place-in-alameda-county/Content?oid=26245173\" target=\"_blank\" rel=\"noopener\">35-plus inmates\u003c/a> who’ve died in custody at an Alameda County jail in the past five years.\u003c/p>\n\u003cp>But there’s a lot I didn’t know, like the fact \u003ca href=\"https://www.alamedacountysheriff.org/dc_srj.php\" target=\"_blank\" rel=\"noopener\">Santa Rita is the 5th largest jail\u003c/a> in the country. What?\u003c/p>\n\u003cp>And I didn’t know Dujuan Armstrong’s mother, Barbara Doss, is still looking for answers about what transpired on the weekend that her son died.\u003c/p>\n\u003cp>Again, if you’re going to this film festival, be ready to be moved, be ready to learn and be ready to use a tissue or two. It gets heavy.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The City of Oakland has released a 342-page review draft of its Downtown Oakland Specific Plan (DOSP), a policy framework for development, transportation and public space as well as cultural arts in its rapidly changing urban core, and officials are now soliciting public feedback. [aside postID=arts_13861153,arts_13853547,arts_13862998] \u003c/p>\n\u003cp>It largely carries forward cultural stabilization strategies from similarly-aimed task forces and planning documents dating as far back as 2015 that local arts figures support but wish to see funded and implemented more swiftly than in recent years. \u003c/p>\n\u003cp>The \u003ca href=\"https://cao-94612.s3.amazonaws.com/documents/FINAL_DOSP-Public-Review-Draft-Plan_082819_Compressed.pdf\">document\u003c/a>, four years in the making and projected for adoption in 2020, includes a raft of policy proposals to support arts and culture in the area approximately bounded by Lake Merritt, Interstate 980, 27th Street and the Oakland Estuary in a chapter entitled “Culture Keeping.” \u003c/p>\n\u003cp>It’s an area experiencing dramatic development, with thousands of housing units opening or under construction, and intense competition for commercial and office space. Changes to the built environment, along with downtown’s declining black population and an influx of affluent residents, pose challenges to nonprofits, galleries, venues and other cultural resources. \u003c/p>\n\u003cp>Downtown Oakland has 161 arts and culture businesses, institutions and nonprofits, 62 nightlife and entertainment establishments and 184 murals, according to the DOSP. “Unprecedented economic investment … has introduced a new dynamic in the cultural landscape that, left unaddressed, endangers this mosaic,” reads the chapter introduction. \u003c/p>\n\u003cfigure id=\"attachment_13863001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg\" alt=\"The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13863001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plan proposes formalizing unofficial cultural districts such as Chinatown and the cluster of galleries near the Oakland First Fridays street festival, plus allocating resources to the already-established Black Arts Movement and Business District (BAMBD). These districts would be incorporated into a network of public spaces with culturally-relevant streetscape elements. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among the ten intersections listed for potential redesign is 13th Street between Broadway and Franklin Street. There the Downtown Oakland Association, a consortium of area property owners, plans to create a plaza to dissuade loitering, raising concerns about the organization’s swelling power to shape and police public space, as KQED \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\">previously reported\u003c/a>. \u003c/p>\n\u003cp>Also proposed is requiring developers that displace arts and culture businesses to offer replacement space on-site or else offer relocation assistance; supporting land trusts and other collective ownership models to acquire and preserve properties for arts uses (along the lines of \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">Shadetree\u003c/a>); and offering more below-market-rate leases to galleries in city-owned properties similar to its deals with Pro Arts and Betti Ono. \u003c/p>\n\u003cp>The plan lists difficulties for entertainment venues to comply with special-events regulations including prohibitive costs and “racial bias in permitting and enforcement,” a reference to \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\">reports\u003c/a> of Oakland cops’ double standards for hip-hop nightclubs that draw largely black audiences. In March city officials \u003ca href=\"https://www.kqed.org/arts/13853547/new-karibbean-citys-after-hours-permit-revoked-prompting-discrimination-accusation\">revoked\u003c/a> New Karibbean City’s after-hours permit at the urging of Oakland police in what proprietor Richard Ali considered the latest example of discrimination against hip-hop venues. \u003c/p>\n\u003cp>Proposed regulatory fixes for downtown entertainment include a streamlined “one-stop shop” for permitting and revising what critics call selectively-enforced aspects of the municipal code pertaining to events. \u003c/p>\n\u003cp>Acknowledging tensions between nightlife operators and residents, the plan also floats an idea—similar to \u003ca href=\"https://www.kqed.org/arts/10632258/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors\">legislation\u003c/a> San Francisco adopted in 2015—to protect entertainment venues against noise complaints from residents of newly-constructed buildings. For example, Oakland could proactively require developers to disclose the presence of entertainment venues near new apartments to prospective tenants or buyers.\u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The document incorporates ideas from the Cultural Plan published last year, the special events task force formed after the Dec. 2, 2016 Ghost Ship fire in East Oakland and an artist housing and workspace task force report published in 2015. Local arts figures laud many of the proposals, but worry Oakland lacks the resources and political will to follow through with investment and implementation. \u003c/p>\n\u003cp>Eric Arnold, BAMBD spokesperson and community advisor to the DOSP authors, called the document “aspirational,” noting many of the “Culture Keeping” strategies date back years. “The outcomes listed all sound great, but how do we get there?” He said, “There isn’t the urgency we need.”\u003c/p>\n\u003cp>Some of the DOSP proposals have gained momentum only to stall: The Black Arts Movement and Business District was established in 2016 but just recently received city funding—$75,000 for signage. Stakeholders in the Art + Garage District, as some call the First Fridays gallery cluster, campaigned for formal recognition in 2015, only to have the plan scuttled after area property owners objected, according to supporters. \u003c/p>\n\u003cp>Lonnie Lee, a key Art + Garage District promoter whose Vessel Gallery was \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">displaced\u003c/a> earlier this year, said she’s baffled that cultural districts are so prominent in the plan after her disheartening experience attempting to form one. “They just want the marketing value,” Lee said. “The districts are nothing without policies—a sign’s not going to keep you.” \u003c/p>\n\u003cp>The DOSP specifically identifies the city-owned Malonga Casquelourd Center for the Arts—a longtime hub for performing arts of the African diaspora, currently housing companies including SambaFunk! and Dimensions Dance Theater—as needing significant upgrades, noting tenants of the facility have complained of deferred maintenance and inadequate staffing since 1999. \u003c/p>\n\u003cp>“Many in the arts community recommended increasing overall funding for arts and culture programs, as well as direct financial assistance to local artists and artists of color,” the plan reads. As \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">KQED previously reported\u003c/a>, the Cultural Affairs Unit has launched new initiatives—embedding artists in city departments, reestablishing an arts commission—under the leadership of Cultural Affairs Manager Roberto Bedoya since 2016, yet earlier this year officials cut its grant-making budget by 17 percent. \u003c/p>\n\u003cfigure id=\"attachment_13840998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg\" alt=\"Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city's first-ever Cultural Plan.\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13840998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city’s first-ever Cultural Plan. \u003ccite>(Chloe Veltman / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of these strategies require a huge infusion of support for Cultural Affairs,” Arnold said. “If you don’t increase their funding, projects requiring their input aren’t really going to happen.” \u003c/p>\n\u003cp>One solution, according to the plan, is to increase the Cultural Funding Program’s share of Oakland’s hotel or transient occupancy tax, although this would require a ballot measure. “That’s a big lift,” said Arnold. “You have community support, but you need political will, money to get it on the ballot and a campaign to draw attention—and the hotel industry will fight back.” \u003c/p>\n\u003cp>The DOSP also proposes contributing public funds to another round of real-estate holding nonprofit \u003ca href=\"https://cast-sf.org/\">Community Arts Stabilization Trust\u003c/a>’s “Keeping Space—Oakland,” which launched late 2016 to provide precarious local arts organizations financial and technical assistance; the first round was philanthropically financed. Oakland’s increasingly close partnership with CAST has previously \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-oaklands-struggle-to-support-the-arts/\">stirred concerns\u003c/a> of Cultural Funding Program responsibilities being outsourced or privatized. \u003c/p>\n\u003cp>The DOSP, developed with input from community advisory and stakeholder groups and public surveys, is still subject to change and requires approval from the Oakland City Council for adoption.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Events for the public to \u003ca href=\"https://www.oaklandca.gov/meetings/related-to/topics/downtown-oakland-specific-plan?range%5Bdate%5D=1567321200000%3A1569913199999\">learn more and provide feedback\u003c/a> on the document are scheduled for Thursday, Sept. 19 at Latham Square Plaza and Sunday, Sept. 29 at the Jack London Farmers Market. The Oakland Chinatown Chamber of Commerce, Jack London Improvement District and Old Oakland Neighbors are also hosting informational events throughout September. \u003c/p>\n\n",
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"title": "Will Oakland’s New Plan to Protect Downtown Arts and Culture Succeed? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has released a 342-page review draft of its Downtown Oakland Specific Plan (DOSP), a policy framework for development, transportation and public space as well as cultural arts in its rapidly changing urban core, and officials are now soliciting public feedback. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>It largely carries forward cultural stabilization strategies from similarly-aimed task forces and planning documents dating as far back as 2015 that local arts figures support but wish to see funded and implemented more swiftly than in recent years. \u003c/p>\n\u003cp>The \u003ca href=\"https://cao-94612.s3.amazonaws.com/documents/FINAL_DOSP-Public-Review-Draft-Plan_082819_Compressed.pdf\">document\u003c/a>, four years in the making and projected for adoption in 2020, includes a raft of policy proposals to support arts and culture in the area approximately bounded by Lake Merritt, Interstate 980, 27th Street and the Oakland Estuary in a chapter entitled “Culture Keeping.” \u003c/p>\n\u003cp>It’s an area experiencing dramatic development, with thousands of housing units opening or under construction, and intense competition for commercial and office space. Changes to the built environment, along with downtown’s declining black population and an influx of affluent residents, pose challenges to nonprofits, galleries, venues and other cultural resources. \u003c/p>\n\u003cp>Downtown Oakland has 161 arts and culture businesses, institutions and nonprofits, 62 nightlife and entertainment establishments and 184 murals, according to the DOSP. “Unprecedented economic investment … has introduced a new dynamic in the cultural landscape that, left unaddressed, endangers this mosaic,” reads the chapter introduction. \u003c/p>\n\u003cfigure id=\"attachment_13863001\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg\" alt=\"The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13863001\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-Street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 13th Street Commons project shows the extraordinary power of Business Improvement District organizations to shape, and police, public space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The plan proposes formalizing unofficial cultural districts such as Chinatown and the cluster of galleries near the Oakland First Fridays street festival, plus allocating resources to the already-established Black Arts Movement and Business District (BAMBD). These districts would be incorporated into a network of public spaces with culturally-relevant streetscape elements. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among the ten intersections listed for potential redesign is 13th Street between Broadway and Franklin Street. There the Downtown Oakland Association, a consortium of area property owners, plans to create a plaza to dissuade loitering, raising concerns about the organization’s swelling power to shape and police public space, as KQED \u003ca href=\"https://www.kqed.org/arts/13862998/to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street\">previously reported\u003c/a>. \u003c/p>\n\u003cp>Also proposed is requiring developers that displace arts and culture businesses to offer replacement space on-site or else offer relocation assistance; supporting land trusts and other collective ownership models to acquire and preserve properties for arts uses (along the lines of \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">Shadetree\u003c/a>); and offering more below-market-rate leases to galleries in city-owned properties similar to its deals with Pro Arts and Betti Ono. \u003c/p>\n\u003cp>The plan lists difficulties for entertainment venues to comply with special-events regulations including prohibitive costs and “racial bias in permitting and enforcement,” a reference to \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\">reports\u003c/a> of Oakland cops’ double standards for hip-hop nightclubs that draw largely black audiences. In March city officials \u003ca href=\"https://www.kqed.org/arts/13853547/new-karibbean-citys-after-hours-permit-revoked-prompting-discrimination-accusation\">revoked\u003c/a> New Karibbean City’s after-hours permit at the urging of Oakland police in what proprietor Richard Ali considered the latest example of discrimination against hip-hop venues. \u003c/p>\n\u003cp>Proposed regulatory fixes for downtown entertainment include a streamlined “one-stop shop” for permitting and revising what critics call selectively-enforced aspects of the municipal code pertaining to events. \u003c/p>\n\u003cp>Acknowledging tensions between nightlife operators and residents, the plan also floats an idea—similar to \u003ca href=\"https://www.kqed.org/arts/10632258/legislation-passes-to-protect-sf-nightclubs-from-complainy-pants-neighbors\">legislation\u003c/a> San Francisco adopted in 2015—to protect entertainment venues against noise complaints from residents of newly-constructed buildings. For example, Oakland could proactively require developers to disclose the presence of entertainment venues near new apartments to prospective tenants or buyers.\u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is among the downtown nightlife operators to accuse Oakland police of discriminating against hip-hop venues that draw largely black audiences. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The document incorporates ideas from the Cultural Plan published last year, the special events task force formed after the Dec. 2, 2016 Ghost Ship fire in East Oakland and an artist housing and workspace task force report published in 2015. Local arts figures laud many of the proposals, but worry Oakland lacks the resources and political will to follow through with investment and implementation. \u003c/p>\n\u003cp>Eric Arnold, BAMBD spokesperson and community advisor to the DOSP authors, called the document “aspirational,” noting many of the “Culture Keeping” strategies date back years. “The outcomes listed all sound great, but how do we get there?” He said, “There isn’t the urgency we need.”\u003c/p>\n\u003cp>Some of the DOSP proposals have gained momentum only to stall: The Black Arts Movement and Business District was established in 2016 but just recently received city funding—$75,000 for signage. Stakeholders in the Art + Garage District, as some call the First Fridays gallery cluster, campaigned for formal recognition in 2015, only to have the plan scuttled after area property owners objected, according to supporters. \u003c/p>\n\u003cp>Lonnie Lee, a key Art + Garage District promoter whose Vessel Gallery was \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">displaced\u003c/a> earlier this year, said she’s baffled that cultural districts are so prominent in the plan after her disheartening experience attempting to form one. “They just want the marketing value,” Lee said. “The districts are nothing without policies—a sign’s not going to keep you.” \u003c/p>\n\u003cp>The DOSP specifically identifies the city-owned Malonga Casquelourd Center for the Arts—a longtime hub for performing arts of the African diaspora, currently housing companies including SambaFunk! and Dimensions Dance Theater—as needing significant upgrades, noting tenants of the facility have complained of deferred maintenance and inadequate staffing since 1999. \u003c/p>\n\u003cp>“Many in the arts community recommended increasing overall funding for arts and culture programs, as well as direct financial assistance to local artists and artists of color,” the plan reads. As \u003ca href=\"https://www.kqed.org/arts/13861153/its-criminal-cultural-funding-cuts-frustrate-oakland-artists\">KQED previously reported\u003c/a>, the Cultural Affairs Unit has launched new initiatives—embedding artists in city departments, reestablishing an arts commission—under the leadership of Cultural Affairs Manager Roberto Bedoya since 2016, yet earlier this year officials cut its grant-making budget by 17 percent. \u003c/p>\n\u003cfigure id=\"attachment_13840998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg\" alt=\"Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city's first-ever Cultural Plan.\" width=\"800\" height=\"514\" class=\"size-medium wp-image-13840998\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-768x493.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1020x655.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1200x770.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1920x1232.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-1180x757.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-960x616.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED-520x334.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Oakland-Mayor-Libby-Schaaf-and-Cultural-Affairs-Manager-Roberto-Bedoya-present-the-citys-first-ever-Cultural-Plan.-Credit-Chloe-Veltman-KQED.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland Mayor Libby Schaaf and Cultural Affairs Manager Roberto Bedoya present the city’s first-ever Cultural Plan. \u003ccite>(Chloe Veltman / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“A lot of these strategies require a huge infusion of support for Cultural Affairs,” Arnold said. “If you don’t increase their funding, projects requiring their input aren’t really going to happen.” \u003c/p>\n\u003cp>One solution, according to the plan, is to increase the Cultural Funding Program’s share of Oakland’s hotel or transient occupancy tax, although this would require a ballot measure. “That’s a big lift,” said Arnold. “You have community support, but you need political will, money to get it on the ballot and a campaign to draw attention—and the hotel industry will fight back.” \u003c/p>\n\u003cp>The DOSP also proposes contributing public funds to another round of real-estate holding nonprofit \u003ca href=\"https://cast-sf.org/\">Community Arts Stabilization Trust\u003c/a>’s “Keeping Space—Oakland,” which launched late 2016 to provide precarious local arts organizations financial and technical assistance; the first round was philanthropically financed. Oakland’s increasingly close partnership with CAST has previously \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-oaklands-struggle-to-support-the-arts/\">stirred concerns\u003c/a> of Cultural Funding Program responsibilities being outsourced or privatized. \u003c/p>\n\u003cp>The DOSP, developed with input from community advisory and stakeholder groups and public surveys, is still subject to change and requires approval from the Oakland City Council for adoption.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Events for the public to \u003ca href=\"https://www.oaklandca.gov/meetings/related-to/topics/downtown-oakland-specific-plan?range%5Bdate%5D=1567321200000%3A1569913199999\">learn more and provide feedback\u003c/a> on the document are scheduled for Thursday, Sept. 19 at Latham Square Plaza and Sunday, Sept. 29 at the Jack London Farmers Market. The Oakland Chinatown Chamber of Commerce, Jack London Improvement District and Old Oakland Neighbors are also hosting informational events throughout September. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "for-oaklands-wounded-music-scene-no-ghost-ship-verdict-could-deliver-justice",
"title": "For Oakland's Wounded Music Scene, No Ghost Ship Verdict Could Deliver Justice",
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"headTitle": "For Oakland’s Wounded Music Scene, No Ghost Ship Verdict Could Deliver Justice | KQED",
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"content": "\u003cp>Jurors delivered a mixed decision in the Ghost Ship criminal trial Thursday, acquitting Max Harris of all charges but failing to reach a unanimous verdict for Derick Almena, who now faces the possibility of a retrial. The defendants each faced 36 counts of involuntary manslaughter for their managerial roles at the un-permitted East Oakland warehouse venue and residence where \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener\">36 people\u003c/a> died during an electronic music event on Dec. 2, 2016. [aside postID=news_11764921]\u003c/p>\n\u003cp>Family members of the deceased have been outspoken, regularly addressing media at the courthouse about their desire to see the defendants found guilty. But local music community figures interviewed by KQED, including people who survived the fire and who each lost at least several friends, expressed a nuanced view of the verdict, saying no outcome of Harris and Almena’s prosecution could resemble justice or elicit any semblance of satisfaction.\u003c/p>\n\u003cp>“The trial is the wrong place to look if you want to see things get better, if you want real justice for the people we lost,” said Nihar Bhatt, a San Francisco DJ and record label proprietor who escaped the fire and has since released or prepared \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/private-property-created-crime\" target=\"_blank\" rel=\"noopener\">posthumous titles\u003c/a> by some of his friends who did not, including the local artists \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a> (Nackt) and \u003ca href=\"https://www.kqed.org/arts/12456485/joey-casio\" target=\"_blank\" rel=\"noopener\">Joey Casio\u003c/a> (Obsidian Blade).\u003c/p>\n\u003cp>Bhatt and other underground music figures said Ghost Ship was widely considered an unsafe venue, but shows occurred there due to a dwindling number of alternative art spaces in Oakland—a trend that’s only intensified in recent years. He pointed to \u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener\">Safer DIY Spaces\u003c/a>, which formed after the fire to assist underground arts spaces with code-compliance and advocate for them at Oakland City Hall, as an example of a better way to honor the lives of people lost than putting anyone in prison.\u003c/p>\n\u003cfigure id=\"attachment_12446719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12446719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg\" alt=\"A memorial for those who died in the Ghost Ship warehouse fire\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for those who died in the Ghost Ship warehouse fire. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan, director of Safer DIY Spaces, said the trial has partly worked as a diversion, distracting the public from holding the City of Oakland accountable for the gulf between its promises and actions as far as compassionate code-enforcement after the fire. \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener\">Officials vowed\u003c/a> to help tenants of other un-permitted warehouses make safety improvements without risking displacement. “Instead they’ve made it harder to legalize these places,” Keenan said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bhatt expressed similar frustration because recommendations from a city task force formed after the fire to address barriers to compliance with special events regulations have largely fallen to the wayside without meaningful adoption. “It’s easier in our current culture to focus on the conviction of individuals,” Bhatt said. “We should be looking at the laws and the economic situation in the Bay Area and the way those things converged [with the Ghost Ship fire].” [aside postid='arts_13816362']\u003c/p>\n\u003cp>Many local arts figures are sympathetic to defense attorneys’ argument that Harris and Almena are scapegoats, believing city officials and the building owners should share some of the blame. (Landlord Chor Ng is among the defendants in families’ pending civil lawsuit.) They’re also generally in agreement with Harris’ co-counsel Tyler Smith that the rising cost of living contributed to the tragedy.\u003c/p>\n\u003cp>“None of this would’ve happened in the first place if the income inequality and the housing crisis weren’t as bad, wasn’t permitted to get as bad as it’s gotten in the Bay Area and in Oakland,” Smith said at the courthouse Thursday.\u003c/p>\n\u003cp>Still, arts and music figures affected by the fire aren’t necessarily fond of the defendants themselves. “They were total douchebags,” said Sharmi Basu, an Oakland experimental musician who played a prominent role in fundraising for fire relief. But as a self-described prison abolitionist, Basu continued, she derived no pleasure from the prospect of their incarceration. “The justice system isn’t going to provide the systemic reform we need,” she said.\u003c/p>\n\u003cp>[pullquote align='right' citation='Sharmi Basu']“The justice system isn’t going to provide the systemic reform we need.”[/pullquote]\u003c/p>\n\u003cp>Other aspects of the defense dismayed music figures who followed the case. The defense implied during the trial that an unsavory, sinister element resided in the neighborhood, conjuring images of gangs and sex workers in an effort to lend credence to its assertion that the fire was set intentionally and to cast the warehouse as a comparatively rosy and idealistic arts collective.\u003c/p>\n\u003cp>In a way, said Bhatt and others, that defense strategy made the largely Latino, working-class Fruitvale district of East Oakland the trial’s forgotten victim. The assertion that a band of Latino arsonists in hoodies lit the warehouse on fire strained credulity to people who were there, and seemed to rely on racist tropes to burnish the image of Ghost Ship and its operators. “It was thinly veiled racism and also paranoia,” Bhatt said. [aside postid='arts_12484175']\u003c/p>\n\u003cp>Jonathan Axtell, who recalled his harrowing escape from the fire as a prosecution witness in June, said the people he knew who died at Ghost Ship would be disappointed to see their names and memories used in the pursuit of lengthy prison sentences instead of pushing back against inequality and displacement in the Bay Area. “What’s been top of my mind is not whether or not they convict Derick and Max, but whether we live for what they lived for,” he said.\u003c/p>\n\u003cp>A hearing regarding Almena’s possible retrial is scheduled for Oct. 4. A separate civil case brought by family members against the City of Oakland, Pacific Gas & Electric and the Ngs, among others, is scheduled to begin trial in May, lead attorney \u003ca href=\"https://maryalexanderlaw.com/\" target=\"_blank\" rel=\"noopener\">Mary Alexander\u003c/a> said Thursday. The statute of limitations prevents the Ngs from facing criminal charges stemming from the Ghost Ship fire after Dec. 3, 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED reporter Don Clyde contributed to this post.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jurors delivered a mixed decision in the Ghost Ship criminal trial Thursday, acquitting Max Harris of all charges but failing to reach a unanimous verdict for Derick Almena, who now faces the possibility of a retrial. The defendants each faced 36 counts of involuntary manslaughter for their managerial roles at the un-permitted East Oakland warehouse venue and residence where \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener\">36 people\u003c/a> died during an electronic music event on Dec. 2, 2016. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Family members of the deceased have been outspoken, regularly addressing media at the courthouse about their desire to see the defendants found guilty. But local music community figures interviewed by KQED, including people who survived the fire and who each lost at least several friends, expressed a nuanced view of the verdict, saying no outcome of Harris and Almena’s prosecution could resemble justice or elicit any semblance of satisfaction.\u003c/p>\n\u003cp>“The trial is the wrong place to look if you want to see things get better, if you want real justice for the people we lost,” said Nihar Bhatt, a San Francisco DJ and record label proprietor who escaped the fire and has since released or prepared \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/private-property-created-crime\" target=\"_blank\" rel=\"noopener\">posthumous titles\u003c/a> by some of his friends who did not, including the local artists \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a> (Nackt) and \u003ca href=\"https://www.kqed.org/arts/12456485/joey-casio\" target=\"_blank\" rel=\"noopener\">Joey Casio\u003c/a> (Obsidian Blade).\u003c/p>\n\u003cp>Bhatt and other underground music figures said Ghost Ship was widely considered an unsafe venue, but shows occurred there due to a dwindling number of alternative art spaces in Oakland—a trend that’s only intensified in recent years. He pointed to \u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener\">Safer DIY Spaces\u003c/a>, which formed after the fire to assist underground arts spaces with code-compliance and advocate for them at Oakland City Hall, as an example of a better way to honor the lives of people lost than putting anyone in prison.\u003c/p>\n\u003cfigure id=\"attachment_12446719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12446719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg\" alt=\"A memorial for those who died in the Ghost Ship warehouse fire\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for those who died in the Ghost Ship warehouse fire. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan, director of Safer DIY Spaces, said the trial has partly worked as a diversion, distracting the public from holding the City of Oakland accountable for the gulf between its promises and actions as far as compassionate code-enforcement after the fire. \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener\">Officials vowed\u003c/a> to help tenants of other un-permitted warehouses make safety improvements without risking displacement. “Instead they’ve made it harder to legalize these places,” Keenan said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bhatt expressed similar frustration because recommendations from a city task force formed after the fire to address barriers to compliance with special events regulations have largely fallen to the wayside without meaningful adoption. “It’s easier in our current culture to focus on the conviction of individuals,” Bhatt said. “We should be looking at the laws and the economic situation in the Bay Area and the way those things converged [with the Ghost Ship fire].” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many local arts figures are sympathetic to defense attorneys’ argument that Harris and Almena are scapegoats, believing city officials and the building owners should share some of the blame. (Landlord Chor Ng is among the defendants in families’ pending civil lawsuit.) They’re also generally in agreement with Harris’ co-counsel Tyler Smith that the rising cost of living contributed to the tragedy.\u003c/p>\n\u003cp>“None of this would’ve happened in the first place if the income inequality and the housing crisis weren’t as bad, wasn’t permitted to get as bad as it’s gotten in the Bay Area and in Oakland,” Smith said at the courthouse Thursday.\u003c/p>\n\u003cp>Still, arts and music figures affected by the fire aren’t necessarily fond of the defendants themselves. “They were total douchebags,” said Sharmi Basu, an Oakland experimental musician who played a prominent role in fundraising for fire relief. But as a self-described prison abolitionist, Basu continued, she derived no pleasure from the prospect of their incarceration. “The justice system isn’t going to provide the systemic reform we need,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other aspects of the defense dismayed music figures who followed the case. The defense implied during the trial that an unsavory, sinister element resided in the neighborhood, conjuring images of gangs and sex workers in an effort to lend credence to its assertion that the fire was set intentionally and to cast the warehouse as a comparatively rosy and idealistic arts collective.\u003c/p>\n\u003cp>In a way, said Bhatt and others, that defense strategy made the largely Latino, working-class Fruitvale district of East Oakland the trial’s forgotten victim. The assertion that a band of Latino arsonists in hoodies lit the warehouse on fire strained credulity to people who were there, and seemed to rely on racist tropes to burnish the image of Ghost Ship and its operators. “It was thinly veiled racism and also paranoia,” Bhatt said. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jonathan Axtell, who recalled his harrowing escape from the fire as a prosecution witness in June, said the people he knew who died at Ghost Ship would be disappointed to see their names and memories used in the pursuit of lengthy prison sentences instead of pushing back against inequality and displacement in the Bay Area. “What’s been top of my mind is not whether or not they convict Derick and Max, but whether we live for what they lived for,” he said.\u003c/p>\n\u003cp>A hearing regarding Almena’s possible retrial is scheduled for Oct. 4. A separate civil case brought by family members against the City of Oakland, Pacific Gas & Electric and the Ngs, among others, is scheduled to begin trial in May, lead attorney \u003ca href=\"https://maryalexanderlaw.com/\" target=\"_blank\" rel=\"noopener\">Mary Alexander\u003c/a> said Thursday. The statute of limitations prevents the Ngs from facing criminal charges stemming from the Ghost Ship fire after Dec. 3, 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED reporter Don Clyde contributed to this post.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "daps-and-hugs-im-moving-out-of-oakland",
"title": "Daps and Hugs: I'm Moving Out of Oakland",
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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\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \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\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in 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\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "How do you say goodbye to one of the greatest pieces of turf on this earth?",
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"title": "Daps and Hugs: I'm Moving Out of Oakland | KQED",
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"headline": "Daps and Hugs: I'm Moving Out of 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\">L\u003c/span>abor Day weekend in Oakland was immaculately smackin’.\u003c/p>\n\u003cp>The reasons to love this city were on full display. The people, music, weather, food, creativity, history, pride, relationships, spirit, jokes, people… did I mention the people?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I swear, all of it will be forever memorable, especially for me. If for no other reason than the fact that I’m moving to Sacramento this weekend.\u003c/p>\n\u003cp>Yeah, I know. Crazy, right?\u003c/p>\n\u003cp>Actually, nah… not really. I’ll just be another one of the \u003ca href=\"https://www.sacbee.com/news/local/article190050994.html\" target=\"_blank\" rel=\"noopener noreferrer\">17,000-plus\u003c/a> workers making that 90-mile commute from the state capital to the Bay Area. Hell, last year alone an estimated \u003ca href=\"https://www.theguardian.com/cities/2019/jul/02/sacramento-california-bay-area-gentrification-rent\" target=\"_blank\" rel=\"noopener noreferrer\">27,00 people relocated\u003c/a> to Sacramento from the Bay Area. At this point, it’s normal.\u003c/p>\n\u003cp>For me, it’s no biggie. Gotta do it. Family reasons. And that’s all there is to it.\u003c/p>\n\u003cp>But I’m not going too far. And I’ll be here working all the time—Oakland is still my office. I’ll still be at KQED, writing a column and hosting \u003cem>\u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em>. Really, there won’t be any major differences. Except… Imma miss ya’ll.\u003c/p>\n\u003cfigure id=\"attachment_13865628\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865628\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg\" alt=\"The East Bay Dragons turn 60, and bring all the bikes out.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/FEE3F999-5BE4-43EA-BE47-B830CF59773B.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The East Bay Dragons turned 60, and brought all the bikes out. \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\">A\u003c/span>ll summer, the thought of moving away has been a subtle buzz in the background of the memories I’ve been creating. Motivation to see people, hit events and hold tighter to the indescribable elements that magically coagulate to make Oakland one of the greatest pieces of turf on this earth.\u003c/p>\n\u003cp>And this Labor Day weekend, the vibes were on full display.\u003c/p>\n\u003cp>Nearly all weekend long, motorcycles lined both sides of the intersection at 88th Avenue and E. 14th Street. Rows of two-wheeled choppers looked like lines of metallic candy, as the East Bay Dragons, Oakland’s oldest African American motorcycle club, ushered in their 60th year of existence—a marvelous feat for any organization.\u003c/p>\n\u003cp>On Saturday, the Oakland Roots, Oakland’s newest sports franchise, played their first soccer game. Ahead of kickoff, they held a well-attended block party, bringing out the Scraper Bike team, artists like Jennifer Johns and Ryan Nicole, as well as Mayor Libby Schaaf. The team played in front of a packed house, reportedly over capacity at Laney College’s stadium; the game ended up a 3-3 tie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13865603\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865603\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg\" alt=\"Mayor Libby Schaaf and the Oakland Roots soccer team\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6983C76B-3D54-49D6-9C56-B428E415BC89-2.jpg 1081w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mayor Libby Schaaf and the Oakland Roots soccer team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Saturday night, rapper BossLife Big Spence celebrated the release of his anticipated new album, \u003cem>BOSSLIFE SUMMER: The Life Chose Me\u003c/em>. The event brought out numerous other artists as Big Spence and the BOSSLIFE squad put on a hell of a show at Starline Social Club.\u003c/p>\n\u003cp>On Sunday afternoon the Pan-African Festival pulled people together from all reaches of the African Diaspora to the grassy center of Mosswood Park. There, an impromptu dance floor was flanked by people selling colorful clothing on one side of the park and folks vending food, including jollof rice and shaved ice, on the other. The whole event was a glimpse into a mini Afrocentric utopia.\u003c/p>\n\u003cfigure id=\"attachment_13865629\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865629\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg\" alt=\"Mistah FAB and Suga Free at Hiero Day in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/3ACE9FD9-FF14-4ECB-A591-AC96A4A6789A-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah FAB and Suga Free at Hiero Day in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And the conclusion of the weekend was Hiero Day, Oakland’s largest homegrown annual hip-hop festival. A valid reason for all the real hip-hop heads and culture junkies to come out, enjoy the vibes and exchange daps and hugs. Hella daps and hugs.\u003c/p>\n\u003cp>I hit all these events and then some. The end of an event celebrating R&B vocalist Astu’s latest single. A send-off party for a longtime friend, Mahasan. I had tacos with Babz and Lola of the \u003ca href=\"https://www.instagram.com/mmhmmgirl/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">MMHMM GIRL podcast\u003c/a>, and also had sushi with rapper \u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\" target=\"_blank\" rel=\"noopener noreferrer\">Ian Kelly\u003c/a>. Even found time to eat some of my mother’s waffles with my family.\u003c/p>\n\u003cp>I ran around town socializing with artists, spending time with creative people and taking photos. Nothing different than what I’ve done for the past decade since moving back from my college stint in D.C. Except now, I’m leaving again.\u003c/p>\n\u003cfigure id=\"attachment_13865601\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865601\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg\" alt=\"Boss Life Big Spence and Su'lan performing in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/D571DDD6-FBE8-4002-AD4D-525D6C81E3B6-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boss Life Big Spence and Su’lan performing in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And I wasn’t tripping off of it until Sunday, when the A’s got their green and gold asses handed to them by the Yankees. Two home runs in the bottom of the ninth by the guys in pinstripes, and every vulgar word in my vocabulary shot out of my mouth and echoed off the empty walls and brown packing boxes of my apartment.\u003c/p>\n\u003cp>I jokingly tweeted “I need a hug.” Except I didn’t add “LOL.” So, ya know, people didn’t know I was joking. Man, I got hella love. Unnecessary amounts of love, on Twitter, and a few text messages. Folks gave me extended hugs when I saw ’em in public. Extra strong handshakes and whatnot. And while it’s funny, the whole experience showed me two things:\u003c/p>\n\u003col>\n\u003cli>How seriously people take comments that allude to needing help.\u003c/li>\n\u003cli>How much this community has my back.\u003c/li>\n\u003c/ol>\n\u003cp>And also, maybe through my anger around the A’s loss and joy in spending time in the town, I was subconsciously reaching out for one last batch of that good stuff: pure Oakland culture. After a decade of running around and taking photos of this town, you get addicted.\u003c/p>\n\u003cp>I mean, it’s not like that it’s going to stop—but it is going to \u003cem>change.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13865605\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg\" alt=\"The Dance floor at Pan African Fest 2019 at Mosswood Park in Oakland\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/6FD2E33E-C795-4B07-99CB-03BC056ECE3E.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Dance floor at Pan-African Fest 2019 at Mosswood Park in 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\">I\u003c/span>n the coming months, I’ll be taking on a project that highlights the artists and culture keepers who’ve moved from the Bay Area to the central valley, including Sacramento, Stockton and beyond, with a specific focus on the African American population.\u003c/p>\n\u003cp>The project, which has been in the works since before my move to Sacramento, is fueled by the lack of reporting in those areas, especially for black folks. Also, Isabel Wilkerson’s book \u003cem>The Warmth of Other Suns\u003c/em> played a major part.\u003c/p>\n\u003cp>I read Wilkerson’s book last year, while living on Apgar Street in a house that my friend’s grandmother bought after migrating from Louisiana. When I read that one of the characters had come from the deep south and visited 41st and Lusk Streets, five blocks over from where I sat reading the book, I realized that the story of black migration is literally on my doorstep.\u003c/p>\n\u003cfigure id=\"attachment_13865630\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865630\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg\" alt=\"Rooted.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/09/1D5EA3E0-83EA-4318-B038-61DD1C790955.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rooted. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, there’s a new chapter waiting to be told—how folks got from the delta in the south to the delta in the central valley of Northern California.\u003c/p>\n\u003cp>Many of my people got off the train in West Oakland, the end of the line, and never turned back. I know that’s what my friend’s grandmother did.\u003c/p>\n\u003cp>Wild how I always heard that tale about folks coming here back in the day, looking for the roads that were paved in gold. I wonder if they knew \u003cem>they\u003c/em> were the gold.\u003c/p>\n\u003cp>This past weekend showed that despite the crazy cost of living out here, that gold hasn’t decreased in value. Not one cent.\u003c/p>\n\u003cp>So I’ll end on this note: it doesn’t end. Keep it lit. Daps and hugs when I see you again. Until then, be safe out here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Inside of Maria Paz’s studio, there’s all sorts of artwork, partially used paint tubes, unopened bags of clay and handwritten notes on her wooden working table. But the first thing I noticed on my visit was a big display that reads “Vida Ancestral.” When I asked her about it, Paz replied that it’s a reminder to ensure her work pays homage to her ancestors.\u003c/p>\n\u003cp>That’s fitting, given the medium she’s chosen for her work: hand-coiled ceramic sculpture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/kilns/\" target=\"_blank\" rel=\"noopener\">Paz\u003c/a> is an Oakland-based storyteller who uses ceramics as her canvas, on which she depicts themes of sexual harassment, the ongoing saga around immigration in the United States and more.\u003c/p>\n\u003cp>She takes modern-day subjects and uses an ancient art form to tell their story; handcrafting sculptures and then painting images and narratives on the outside of the objects. And through this, she not only sheds light on today’s problems and pays homage to her ancestors, but she also finds personal healing.\u003c/p>\n\u003cfigure id=\"attachment_13865387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/image_from_ios-800x535.jpg\" alt=\"Maria Paz's work\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maria Paz’s work. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paz was born in Chile, and after moving to Southern California as a child, she hadn’t visited her native country until earlier this year. As an undocumented resident of the United States, it wasn’t wise for her to leave. Prior to the trip, she completed the necessary arrangements to get her proper paperwork, but there was an issue in delivering her paperwork, so she was forced to spend some extra time in South America before everything got worked out.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back at home in Oakland, after experiencing firsthand the issues with immigration and documentation, Paz had yet another story tell—adding to the layers of work she puts into her hand-crafted sculptures.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish, Paz speaks with me about her personal experience, the larger issues around immigration and honoring her ancestors. To hear all about it, click the link above.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And to hear Paz in-person, on Tuesday, Sept. 3, she’ll show her work and give an artist talk at \u003ca href=\"http://www.thepaintingsalon.com/\" target=\"_blank\" rel=\"noopener\">The Painting Salon\u003c/a>, at the Royal Nonesuch Gallery in Oakland, from 6:30-9pm. \u003ca href=\"http://www.thepaintingsalon.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside of Maria Paz’s studio, there’s all sorts of artwork, partially used paint tubes, unopened bags of clay and handwritten notes on her wooden working table. But the first thing I noticed on my visit was a big display that reads “Vida Ancestral.” When I asked her about it, Paz replied that it’s a reminder to ensure her work pays homage to her ancestors.\u003c/p>\n\u003cp>That’s fitting, given the medium she’s chosen for her work: hand-coiled ceramic sculpture.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/kilns/\" target=\"_blank\" rel=\"noopener\">Paz\u003c/a> is an Oakland-based storyteller who uses ceramics as her canvas, on which she depicts themes of sexual harassment, the ongoing saga around immigration in the United States and more.\u003c/p>\n\u003cp>She takes modern-day subjects and uses an ancient art form to tell their story; handcrafting sculptures and then painting images and narratives on the outside of the objects. And through this, she not only sheds light on today’s problems and pays homage to her ancestors, but she also finds personal healing.\u003c/p>\n\u003cfigure id=\"attachment_13865387\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13865387\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/image_from_ios-800x535.jpg\" alt=\"Maria Paz's work\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/image_from_ios.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Maria Paz’s work. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paz was born in Chile, and after moving to Southern California as a child, she hadn’t visited her native country until earlier this year. As an undocumented resident of the United States, it wasn’t wise for her to leave. Prior to the trip, she completed the necessary arrangements to get her proper paperwork, but there was an issue in delivering her paperwork, so she was forced to spend some extra time in South America before everything got worked out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back at home in Oakland, after experiencing firsthand the issues with immigration and documentation, Paz had yet another story tell—adding to the layers of work she puts into her hand-crafted sculptures.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish, Paz speaks with me about her personal experience, the larger issues around immigration and honoring her ancestors. To hear all about it, click the link above.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And to hear Paz in-person, on Tuesday, Sept. 3, she’ll show her work and give an artist talk at \u003ca href=\"http://www.thepaintingsalon.com/\" target=\"_blank\" rel=\"noopener\">The Painting Salon\u003c/a>, at the Royal Nonesuch Gallery in Oakland, from 6:30-9pm. \u003ca href=\"http://www.thepaintingsalon.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "illustrating-the-opposition-to-trumps-public-charge-rule",
"title": "Illustrating the Opposition to Trump's 'Public Charge' Rule",
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"content": "\u003cp>On Tuesday, Aug. 27, a rally filled Oakland’s Chinatown neighborhood to protest the Trump administration’s ‘\u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">public charge rule\u003c/a>,’ set to go into effect Oct. 15. And Thi Bui and a group of illustrators from the group Art Hack were there to document it.\u003c/p>\n\u003cp>[aside postID='arts_13851435' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/02/ThiBui.Strike.MAIN_.rev_-1020x615.jpg']\u003c/p>\n\u003cp>Under the rule, any immigrant receiving public benefits such as Medicaid, housing assistance or food stamps for over 12 months within a 36-month period would be considered a “public charge,” and thus would be \u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">less eligible to receive a green card\u003c/a>.\u003c/p>\n\u003cp>It’s a personal issue for Bui, the Caldecott Award-winning illustrator and the creator of the graphic memoir \u003cem>The Best We Could Do\u003c/em>, a \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener noreferrer\">memoir about her family leaving Vietnam\u003c/a> and coming to America in the late 1970s.\u003c/p>\n\u003cp>“My family, like many, used public benefits when we first arrived in the United States,” Bui says. “It’s hard to imagine how we would have survived, much less gone on to thrive and help others in our careers, without that crucial help in the beginning.”\u003c/p>\n\u003cp>In Oakland on Tuesday, as attendees protested the effects the rule would have on working class immigrant families, the illustrators and cartoonists of Art Hack chronicled the day: real people, in their own words, in illustrations and comics.\u003c/p>\n\u003cp>See their drawings below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg\" alt=\"\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-1020x632.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://mallorymoser.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallory Moser\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://aisforactivist.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Innosanto Nagara\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg\" alt=\"\" width=\"1200\" height=\"1601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-1020x1361.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-899x1200.jpg 899w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://www.thibui.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thi Bui\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://meganleppla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Leppla\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865186\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg\" alt=\"\" width=\"1200\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-800x1039.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-1020x1325.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-924x1200.jpg 924w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://gchow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gerry Chow\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13865215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-800x1148.jpg\" alt=\"\" width=\"800\" height=\"1148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-768x1102.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://francoisluong.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">François Luong\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "See drawings and comics of people protesting the public charge rule, in their own words, courtesy the Bay Area group Art Hack.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, Aug. 27, a rally filled Oakland’s Chinatown neighborhood to protest the Trump administration’s ‘\u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">public charge rule\u003c/a>,’ set to go into effect Oct. 15. And Thi Bui and a group of illustrators from the group Art Hack were there to document it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under the rule, any immigrant receiving public benefits such as Medicaid, housing assistance or food stamps for over 12 months within a 36-month period would be considered a “public charge,” and thus would be \u003ca href=\"https://www.npr.org/2019/08/12/748328652/trump-administration-rule-would-penalize-immigrants-for-using-benefits\" target=\"_blank\" rel=\"noopener noreferrer\">less eligible to receive a green card\u003c/a>.\u003c/p>\n\u003cp>It’s a personal issue for Bui, the Caldecott Award-winning illustrator and the creator of the graphic memoir \u003cem>The Best We Could Do\u003c/em>, a \u003ca href=\"https://www.kqed.org/arts/13807203/a-vietnam-story-told-through-the-eyes-of-refugee-parents\" target=\"_blank\" rel=\"noopener noreferrer\">memoir about her family leaving Vietnam\u003c/a> and coming to America in the late 1970s.\u003c/p>\n\u003cp>“My family, like many, used public benefits when we first arrived in the United States,” Bui says. “It’s hard to imagine how we would have survived, much less gone on to thrive and help others in our careers, without that crucial help in the beginning.”\u003c/p>\n\u003cp>In Oakland on Tuesday, as attendees protested the effects the rule would have on working class immigrant families, the illustrators and cartoonists of Art Hack chronicled the day: real people, in their own words, in illustrations and comics.\u003c/p>\n\u003cp>See their drawings below.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg\" alt=\"\" width=\"1200\" height=\"743\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-768x476.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/APIAHealthForum_MalloryMoser_1200-1020x632.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://mallorymoser.weebly.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mallory Moser\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg\" alt=\"\" width=\"1200\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Miya_Yoshitani_-Innosanto_Nagara_1200-1020x1020.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://aisforactivist.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Innosanto Nagara\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg\" alt=\"\" width=\"1200\" height=\"1601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-768x1025.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-1020x1361.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public_charge_rally_Thu_Quach_Thi_Bui_1200-899x1200.jpg 899w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"https://www.thibui.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thi Bui\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865185\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg\" alt=\"\" width=\"1200\" height=\"1600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Public-Charge-Rally_Kimberley-and-Roger_megan-Leppla_1200-900x1200.jpg 900w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://meganleppla.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Megan Leppla\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13865186\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg\" alt=\"\" width=\"1200\" height=\"1559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-800x1039.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-768x998.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-1020x1325.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Stop_Attacking_Immigrants_gerry_chow_1200-924x1200.jpg 924w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003c/p>\n\u003cp style=\"text-align: center\">Art by \u003ca href=\"http://gchow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Gerry Chow\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13865215\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-800x1148.jpg\" alt=\"\" width=\"800\" height=\"1148\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/PublicChargeProtest_Jared_FrancoisLuong-160x230.jpg 160w, 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"slug": "m0xy-warehouse-artists-in-oakland-plot-recovery-from-fire",
"title": "M0xy Warehouse Artists in Oakland Plot Recovery From Fire",
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"content": "\u003cp>Last Friday, while jurors deliberated on two defendants’ criminal responsibility for the 2016 Ghost Ship warehouse fire, another artist complex in the nearby Jingletown neighborhood of East Oakland went up in flames. \u003c/p>\n\u003cp>Unlike Ghost Ship, however, no humans were injured in the fire at 976 23rd Ave., which houses dozens of small businesses and art studios. Still, space and materials serving 7–10 of more than 30 tenants, including woodworkers and sculptors, were destroyed. The whole building is currently inaccessible, according to M0xy tenants. [aside postID=news_11766607]\u003c/p>\n\u003cp>Atticus Wolf, who founded \u003ca href=\"https://www.m0xy.com/\">M0xy\u003c/a> with a partner in 2015, said he was in his office at the facility early Friday morning when the fire started, and attempted to extinguish it to no avail. “What went through my head is ‘everybody out.’ I don’t know what else I was thinking, but it hurt,” Wolf said. “We have two warehouse cats and one of them didn’t make it—his name was Sebastian.” \u003c/p>\n\u003cp>The fire comes at a time when city scrutiny and competition for commercial space, not least from \u003ca href=\"https://www.kqed.org/arts/13826417/new-oakland-law-could-prevent-cannabis-companies-from-evicting-tenants\" rel=\"noopener\" target=\"_blank\">deep-pocketed cannabis cultivation companies\u003c/a>, threaten the art and fabrication studios that have long occupied warehouse and light-industrial buildings in East Oakland. Now, M0xy tenants are working and fundraising to ensure the studio space doesn’t permanently disappear. \u003c/p>\n\u003cp>“The city has been in constant contact with M0xy, working closely with them to get the property up and running again, and get these small businesses and sole proprietors back to work as soon as possible,” Kelley Kahn, Oakland’s policy director for art spaces, said in a statement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, which emerged after the Ghost Ship fire as a resource for preserving and upgrading artist housing and workspace, is also working with Wolf and M0xy tenants on repairs. “The city, building department—everyone’s been helpful,” he said. \u003c/p>\n\u003cp>Wolf said the block-long facility is composed of two buildings, and that the one most damaged by the fire will be demolished. He’s working with the property owner, Jason Dreisbach, whose family business provides warehousing services to the ports of Oakland and Richmond, to explore the construction of a new building and restore access to the rest of the complex, noting many tenants are general contractors and skilled laborers.\u003c/p>\n\u003cp>Meanwhile, at least five tenants affected by the fire have launched crowdfunding campaigns: \u003ca href=\"https://www.gofundme.com/f/HELP-SAVE-SKIFF\">Skiff\u003c/a>, a fabrication business with five employees; \u003ca href=\"https://www.gofundme.com/f/o2-treehouse\">02 Treehouse\u003c/a>, an architectural firm focused on treehouses; Rachel Sadd, an artist known as the \u003ca href=\"https://www.gofundme.com/f/crafty-avenger-jingletown-fire-recovery-fund\">Crafty Avenger\u003c/a>; woodworker \u003ca href=\"https://www.gofundme.com/f/aaron-pirata-cronshey039s-get-back-to-work-fund\">Aaron Pirate Cronshey\u003c/a>; and \u003ca href=\"https://www.gofundme.com/f/ryan-montgomery039s-post-m0xy-fire-support-fund\">Ryan Montgomery\u003c/a>, the installation artist behind Geary & Hyde Design. \u003c/p>\n\u003cp>Dustin Feider of 02 Treehouse said contributions will go to seeking temporary workspace and completing an outstanding project for a client in Seattle. “It’s been a rude awakening to look at rental rates elsewhere,” he said, mentioning that 02 Treehouse often subcontracts with other M0xy tenants. “I’m glad to hear Atticus is on a mission to rebuild.” \u003c/p>\n\u003cp>M0xy is also accepting donations through its fiscal sponsor \u003ca href=\"https://www.artsandmedia.net/\">Independent Arts and Media\u003c/a>. \u003c/p>\n\u003cp>No one lives at M0xy, Wolf said. Inspired by \u003ca href=\"https://localwiki.org/oakland/American_Steel_Studios\" rel=\"noopener\" target=\"_blank\">American Steel\u003c/a>, the idea of the below market-rate studio space is to foster tool- and knowledge-sharing among tenants loosely aligned with what he called the industrial arts. At the time of the fire, though, he was working with Community Arts Stabilization Trust, the San Francisco nonprofit, to build artist housing in the neighborhood. \u003c/p>\n\u003cp>The plan had reached the point of architectural renderings for a potential site across the street. “Now those resources have to go back into the M0xy building,” Wolf said. “We’re at a standstill.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Artists are particularly susceptible to being displaced from studio space, according to a 2016 report from Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, due to the city’s lack of commercial rent control or other protections. Most of the 900 local artists who responded to a task force survey indicated their workspace leases are month-to-month.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Atticus Wolf, who founded \u003ca href=\"https://www.m0xy.com/\">M0xy\u003c/a> with a partner in 2015, said he was in his office at the facility early Friday morning when the fire started, and attempted to extinguish it to no avail. “What went through my head is ‘everybody out.’ I don’t know what else I was thinking, but it hurt,” Wolf said. “We have two warehouse cats and one of them didn’t make it—his name was Sebastian.” \u003c/p>\n\u003cp>The fire comes at a time when city scrutiny and competition for commercial space, not least from \u003ca href=\"https://www.kqed.org/arts/13826417/new-oakland-law-could-prevent-cannabis-companies-from-evicting-tenants\" rel=\"noopener\" target=\"_blank\">deep-pocketed cannabis cultivation companies\u003c/a>, threaten the art and fabrication studios that have long occupied warehouse and light-industrial buildings in East Oakland. Now, M0xy tenants are working and fundraising to ensure the studio space doesn’t permanently disappear. \u003c/p>\n\u003cp>“The city has been in constant contact with M0xy, working closely with them to get the property up and running again, and get these small businesses and sole proprietors back to work as soon as possible,” Kelley Kahn, Oakland’s policy director for art spaces, said in a statement. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, which emerged after the Ghost Ship fire as a resource for preserving and upgrading artist housing and workspace, is also working with Wolf and M0xy tenants on repairs. “The city, building department—everyone’s been helpful,” he said. \u003c/p>\n\u003cp>Wolf said the block-long facility is composed of two buildings, and that the one most damaged by the fire will be demolished. He’s working with the property owner, Jason Dreisbach, whose family business provides warehousing services to the ports of Oakland and Richmond, to explore the construction of a new building and restore access to the rest of the complex, noting many tenants are general contractors and skilled laborers.\u003c/p>\n\u003cp>Meanwhile, at least five tenants affected by the fire have launched crowdfunding campaigns: \u003ca href=\"https://www.gofundme.com/f/HELP-SAVE-SKIFF\">Skiff\u003c/a>, a fabrication business with five employees; \u003ca href=\"https://www.gofundme.com/f/o2-treehouse\">02 Treehouse\u003c/a>, an architectural firm focused on treehouses; Rachel Sadd, an artist known as the \u003ca href=\"https://www.gofundme.com/f/crafty-avenger-jingletown-fire-recovery-fund\">Crafty Avenger\u003c/a>; woodworker \u003ca href=\"https://www.gofundme.com/f/aaron-pirata-cronshey039s-get-back-to-work-fund\">Aaron Pirate Cronshey\u003c/a>; and \u003ca href=\"https://www.gofundme.com/f/ryan-montgomery039s-post-m0xy-fire-support-fund\">Ryan Montgomery\u003c/a>, the installation artist behind Geary & Hyde Design. \u003c/p>\n\u003cp>Dustin Feider of 02 Treehouse said contributions will go to seeking temporary workspace and completing an outstanding project for a client in Seattle. “It’s been a rude awakening to look at rental rates elsewhere,” he said, mentioning that 02 Treehouse often subcontracts with other M0xy tenants. “I’m glad to hear Atticus is on a mission to rebuild.” \u003c/p>\n\u003cp>M0xy is also accepting donations through its fiscal sponsor \u003ca href=\"https://www.artsandmedia.net/\">Independent Arts and Media\u003c/a>. \u003c/p>\n\u003cp>No one lives at M0xy, Wolf said. Inspired by \u003ca href=\"https://localwiki.org/oakland/American_Steel_Studios\" rel=\"noopener\" target=\"_blank\">American Steel\u003c/a>, the idea of the below market-rate studio space is to foster tool- and knowledge-sharing among tenants loosely aligned with what he called the industrial arts. At the time of the fire, though, he was working with Community Arts Stabilization Trust, the San Francisco nonprofit, to build artist housing in the neighborhood. \u003c/p>\n\u003cp>The plan had reached the point of architectural renderings for a potential site across the street. “Now those resources have to go back into the M0xy building,” Wolf said. “We’re at a standstill.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Artists are particularly susceptible to being displaced from studio space, according to a 2016 report from Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, due to the city’s lack of commercial rent control or other protections. Most of the 900 local artists who responded to a task force survey indicated their workspace leases are month-to-month.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dream Day 2019: Celebrating Mike 'Dream' Francisco's 50th Birthday",
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"content": "\u003cp>On Aug. 17, Mosswood Park in Oakland will be full of people gathered in celebration of the 50th birthday of the late, great Mike “Dream” Francisco.\u003c/p>\n\u003cp>Dream, a legendary graffiti writer, was raised in Alameda and spent time all over the Bay Area. But he found a home on the walls of Oakland—specifically those near 23rd Avenue and East 12th Street, in what’s known as Oakland’s 23rd Yards. He got his first taste of writing in 1983, and from that moment on, Dream used the walls of the Bay Area as a canvas to create artwork so impressive that publications around the world took note.\u003c/p>\n\u003cp>His notable hand styles and clever messages, as well as the proliferation of pieces that simply read DREAM, helped to spread his name in the graffiti writing world.\u003c/p>\n\u003cfigure id=\"attachment_13864061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg\" alt=\"Best Of Both Worlds-Dream\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Dream’s more popular pieces, ‘The Best Of Both Worlds’ and ‘Sweet Dreams.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much more than just a writer, Dream was a hustler who grew to be politicized. He had the Bay Area vernacular and charisma, \u003ca href=\"https://www.youtube.com/watch?v=zklG2h4B86o\" target=\"_blank\" rel=\"noopener\">and used it in conversation\u003c/a>. He was a proud first-generation Filipino guy who loved hip-hop, and kicked it with folks of all nationalities.\u003c/p>\n\u003cp>He was also a founding member of a crew of writers known as TDK, which originally stood for “Those Damn Kids.” But you know how it is: multiple meanings for an acronym emerge, depending on what the crew got into. So, when they did devious things, they were “The Dark Knights.” When they were talking politics, it was “Tax Dollars Kill.” When they were bragging about how dope they were, they were “The Damn Kings.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Years have passed and the crew has grown. A lot of them still paint; you can find TDK pieces in all corners of the Town. Some have used their artistic ability for other things, like becoming tattoo artists. And a few of them became teachers, still carrying the TDK name—you know, “Teach Da Kids.”\u003c/p>\n\u003cfigure id=\"attachment_13864060\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg\" alt=\"Dream memorial at the front door of East Side Arts Alliance\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream memorial at the front door of East Side Arts Alliance. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Mike ‘Dream’ Francisco was killed on Feb. 17, 2000, in Oakland, the City of Oakland \u003ca href=\"http://nvrovr.blogspot.com/2010/02/city-of-oakland-honors-dream-day.html\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> that day as Dream Day in 2010. His legacy not only lives on in the photos of his work and his crew’s continued contributions to the arts, but through his son Akil as well.\u003c/p>\n\u003cp>I have a close connection to Dream’s story: my 2014 documentary film, \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" target=\"_blank\" rel=\"noopener\">\u003cem>TDK: The Dream Kontinues\u003c/em>\u003c/a>, highlights just a bit of his life and artistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for a real sense of his legacy in the Bay Area, there’s nothing like being around the people he worked with, and the writers he inspired. At Mosswood Park this Saturday, friends, family and writers from around the world will share signatures, tell stories and listen to golden-era hip-hop, with music by DJ Qbert, Wes, Nump and more. It’s all to honor the life of one of the most well-loved graffiti artists of the region.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Aug. 17, Mosswood Park in Oakland will be full of people gathered in celebration of the 50th birthday of the late, great Mike “Dream” Francisco.\u003c/p>\n\u003cp>Dream, a legendary graffiti writer, was raised in Alameda and spent time all over the Bay Area. But he found a home on the walls of Oakland—specifically those near 23rd Avenue and East 12th Street, in what’s known as Oakland’s 23rd Yards. He got his first taste of writing in 1983, and from that moment on, Dream used the walls of the Bay Area as a canvas to create artwork so impressive that publications around the world took note.\u003c/p>\n\u003cp>His notable hand styles and clever messages, as well as the proliferation of pieces that simply read DREAM, helped to spread his name in the graffiti writing world.\u003c/p>\n\u003cfigure id=\"attachment_13864061\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg\" alt=\"Best Of Both Worlds-Dream\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1200x797.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619-1920x1276.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/DSC01619.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Two of Dream’s more popular pieces, ‘The Best Of Both Worlds’ and ‘Sweet Dreams.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Much more than just a writer, Dream was a hustler who grew to be politicized. He had the Bay Area vernacular and charisma, \u003ca href=\"https://www.youtube.com/watch?v=zklG2h4B86o\" target=\"_blank\" rel=\"noopener\">and used it in conversation\u003c/a>. He was a proud first-generation Filipino guy who loved hip-hop, and kicked it with folks of all nationalities.\u003c/p>\n\u003cp>He was also a founding member of a crew of writers known as TDK, which originally stood for “Those Damn Kids.” But you know how it is: multiple meanings for an acronym emerge, depending on what the crew got into. So, when they did devious things, they were “The Dark Knights.” When they were talking politics, it was “Tax Dollars Kill.” When they were bragging about how dope they were, they were “The Damn Kings.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Years have passed and the crew has grown. A lot of them still paint; you can find TDK pieces in all corners of the Town. Some have used their artistic ability for other things, like becoming tattoo artists. And a few of them became teachers, still carrying the TDK name—you know, “Teach Da Kids.”\u003c/p>\n\u003cfigure id=\"attachment_13864060\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg\" alt=\"Dream memorial at the front door of East Side Arts Alliance\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/IMG_1636.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream memorial at the front door of East Side Arts Alliance. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After Mike ‘Dream’ Francisco was killed on Feb. 17, 2000, in Oakland, the City of Oakland \u003ca href=\"http://nvrovr.blogspot.com/2010/02/city-of-oakland-honors-dream-day.html\" target=\"_blank\" rel=\"noopener\">officially designated\u003c/a> that day as Dream Day in 2010. His legacy not only lives on in the photos of his work and his crew’s continued contributions to the arts, but through his son Akil as well.\u003c/p>\n\u003cp>I have a close connection to Dream’s story: my 2014 documentary film, \u003ca href=\"https://www.youtube.com/watch?v=cDp38sltic8\" target=\"_blank\" rel=\"noopener\">\u003cem>TDK: The Dream Kontinues\u003c/em>\u003c/a>, highlights just a bit of his life and artistry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for a real sense of his legacy in the Bay Area, there’s nothing like being around the people he worked with, and the writers he inspired. At Mosswood Park this Saturday, friends, family and writers from around the world will share signatures, tell stories and listen to golden-era hip-hop, with music by DJ Qbert, Wes, Nump and more. It’s all to honor the life of one of the most well-loved graffiti artists of the region.\u003cem>—Pendarvis Harshaw\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "critical-resistance-prison-abolition-oakland-temescal-baby-world",
"title": "How Prison Abolitionists Acquired a Former Baby Store in Oakland's Temescal District",
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"content": "\u003cp>On the corner of 44th Street and Telegraph Avenue in Oakland, amid the upstart cafes and yoga studios of the Temescal district, a longtime baby shop is becoming a center for prison abolition.\u003c/p>\n\u003cp>Where months ago the building’s blue facade advertised toys and car seats, now murals and slogans promote a world without incarceration. An image of a white dove ascends from brown hands, and a woman blows the word “Libertad” from a conch shell. Window banners mark local campaigns against police conferences and gang injunctions, and lettering above the 7,000-square-foot corner storefront’s entrance announces the new occupants’ intentions: “Building People Power.”\u003c/p>\n\u003cp>This will be the new national offices of \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a>. The prison abolitionist group, cofounded 20 years ago by the activist and scholar Angela Davis, recently acquired the $3.3 million real estate through a young supporter who’s vowed to “radically redistribute” her inherited wealth, and is building offices and gathering space to share with allied groups. It’s an improbable fate for commercial property in an area synonymous with the city’s influx of young professionals.\u003c/p>\n\u003cp>And the unlikely deal required even more surprisingly interlocked interests: The Cabellos, who ran Baby World for decades, sold the building to Critical Resistance after rejecting offers from developers and corporate retailers (including one they blame for helping drive them out of business). They wanted to mitigate gentrification in North Oakland, and were endeared to the nonprofit’s politics by their harrowing experience of the United States-backed coup in their native Chile.\u003c/p>\n\u003cp>“I’d just seen \u003cem>Black Panther\u003c/em>,” recalled Dania Cabello, the business owners’ 36-year-old daughter, of helping solicit Critical Resistance, where her brother once interned, to buy the family property. “So I was like, ‘How do we bring a real-life Wakanda Institute to Oakland?”\u003c/p>\n\u003cfigure id=\"attachment_13863804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-800x450.jpg\" alt=\"Critical Resistance marks successful and ongoing campaigns against the prison-industrial complex in the windows of its new building. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance marks successful and ongoing campaigns against the prison-industrial complex in the windows of its new building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Abolition, Not Reform\u003c/h2>\n\u003cp>The acquisition means stability for Critical Resistance, which faces steep rent increases in its downtown Oakland offices, and a more conspicuous public presence at a time when its once-fringe ideas are going mainstream. “Look at the headlines—you have people proudly calling themselves abolitionists, the popularization of ‘abolish ICE,’” said communications director Mohamed Shehk. “It shows chipping away at state violence is an achievable reality.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Critical Resistance has several full-time employees and chapters in Los Angeles, New York City, Portland and Oakland. Part of its strategy is to dismantle the infrastructure of the prison-industrial complex, and then try to redirect public resources away from policing, surveillance and incarceration. Locally, for example, it participated in a successful coalition-based \u003ca href=\"http://stopurbanshield.org/\">campaign\u003c/a> against Urban Shield, a law-enforcement exposition criticized for promoting police militarization with emergency preparedness funds.\u003c/p>\n\u003cp>Building on the momentum of the recent San Francisco youth jail closure, Critical Resistance is working with Supervisor Matt Haney to shutter the county jail on Bryant Street. There’s broad political support for closing the seismically unsafe facility; Critical Resistance wants to go further and see that it isn’t replaced. “The idea is to reduce the incarcerated population, implement bail reform and divert people into services that make a new jail unnecessary,” Shehk said.\u003c/p>\n\u003cfigure id=\"attachment_13863808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-800x450.jpg\" alt=\"Critical Resistance was part of a coalition urging Oakland and Alameda officials to cut ties to Urban Shield.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance was part of a coalition urging Oakland and Alameda officials to cut ties to Urban Shield. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oakland Power Projects,” an ongoing campaign, shows another side of Critical Resistance’s work: community-based alternatives to policing. For one project, organizers canvassed Oaklanders and then developed literature about addressing health emergencies without calling the cops. Tahirah Rasheed, an Oakland native recently hired as building project manager, said the Temescal center will make these resources more accessible. “It will be a hub for racial justice and social justice organizing—especially pushing back against gentrification,” she said.\u003c/p>\n\u003cp>At a time when criminal-justice reform has widespread support, even from conservatives such as the Koch Brothers, Critical Resistance is leery of its ideas being co-opted or diluted, and often assails progressive-seeming ideas that entrench incarceration. In 2016, for example, the organization opposed a California proposition to repeal capital punishment and resentence death row prisoners to life without parole, arguing it enshrined “the other death sentence.”\u003c/p>\n\u003cp>Lately, the group has similarly challenged liberal outrage at privately-run prisons: Ruth Wilson Gilmore, the theorist and Critical Resistance cofounder, recently stressed her critique of the reformist referendum on private prisons in a \u003cem>New York Times Magazine \u003c/em>\u003ca href=\"https://www.nytimes.com/2019/04/17/magazine/prison-abolition-ruth-wilson-gilmore.html\">profile\u003c/a>, saying they play only a small, parasitic role in mass incarceration. “We don’t believe the system is broken, so we don’t want it fixed,” Critical Resistance organizer Rehana Lerandeau explained to KQED. “We want it abolished.”\u003c/p>\n\u003cfigure id=\"attachment_13863827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-800x450.jpg\" alt=\"Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda (pictured) to paint the building.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda (pictured) to paint the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Philanthropy as Redistribution\u003c/h2>\n\u003cp>Rachel Gelman grew up in what she called a wealthy, owning-class family in Washington, D.C., struggling to reconcile her sharpening social-justice convictions with her privilege. Her family’s fortune, she said, derives largely from investments that benefit shareholders and executives at the expense of workers. “So, I was confused about my role in the movement,” she said.\u003c/p>\n\u003cp>Gelman, 29, is program director at Jewish Youth for Community Action, an activist and leadership training program in Piedmont. She moved to Oakland six years ago and discovered \u003ca href=\"https://resourcegeneration.org/\">Resource Generation\u003c/a>, a nonprofit that encourages wealthy young people to back leftist and progressive causes. Members of her family are philanthropists, and she considers their giving well-meaning and inspiring. But old-world charity, she said, can be “top down” or prescriptive, and it almost always entrenches status. Gelman doesn’t want her name on a theater.\u003c/p>\n\u003cp>Resource Generation, by contrast, recasts philanthropy as redistribution, stressing donations as a way to diffuse instead of bolster one’s own power. Now Gelman thinks of giving as a way to help upend the forces of capitalism, patriarchy and white supremacy that underlie her inheritance. “I believe ending this economic system that creates such drastic wealth inequality is necessary for all peoples’ humanity and dignity, including my own and that of my family,” she said.\u003c/p>\n\u003cp>Gelman was supporting Critical Resistance when the organization approached her about the Temescal building. She knew Critical Resistance was struggling with rising rents, and saw an opportunity to offer the group stability while removing property from the speculative market with her $3.3 million purchase. The company she formed to hold the building, which Critical Resistance is considering placing in a land trust, is named for an Arundhati Roy quotation: Another World Possible.\u003c/p>\n\u003cp>Critical Resistance shifted Gelman’s view of incarceration. She had gone from from being disgusted at its profiteers to embracing the idea that “any system that cages people is fundamentally inhumane,” she said. The multimillion-dollar donation to an organization that in 2017 had $373,000 in revenue reflects her optimism about the prospect of abolition, and she agreed to be interviewed in order to send a message to people with backgrounds similar to hers: “Invest in a world that benefits everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13863809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-800x450.jpg\" alt=\"The Cabellos, who ran Baby World for decades, were endeared to Critical Resistance's politics by their harrowing experience of a United States-backed coup in their native Chile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cabellos, who ran Baby World for decades, were endeared to Critical Resistance’s politics by their harrowing experience of a United States-backed coup in their native Chile. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bittersweet’\u003c/h2>\n\u003cp>Aldo and Cristina Cabello listed 4400 Telegraph Ave. for sale in 2017, as business at Baby World declined. Dania, their daughter, pointed to online competition and also to displacement: The family-run business, founded more than 30 years prior, found the intergenerational continuity of its customer base severed. So it was “heartbreaking,” she said, to field offers from “condo developers and mega-corporations—the antithesis of the community we want to serve.”\u003c/p>\n\u003cp>Selling to Critical Resistance, though, appealed to the Cabellos’ abiding quest for justice. They came to Oakland as political refugees from Chile in 1973 after Augusto Pinochet, with United States government support, seized power in a military coup. A hit squad known as the Caravan of Death had executed Aldo’s brother Winston, and they feared for their lives. “My father was actually taken in on a couple occasions and released alive,” Dania said. “That was rare.”\u003c/p>\n\u003cp>Living in North Oakland with Dania’s two elder sisters, the Cabellos started selling refurbished electronics and baby accessories at the Coliseum Flea Market. “My memory is bleaching used toys in the backyard,” Dania said. The hustle led to small storefronts and, in the 1990s, the property on Telegraph Avenue. All the while, Aldo and other exiled family members researched the role of Armando Fernandez Larios, an officer in the Caravan of Death, in Winston’s slaying.\u003c/p>\n\u003cfigure id=\"attachment_13863828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-800x450.jpg\" alt=\"Dania Cabello said Baby World's business suffered due to online competition and displacement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dania Cabello said Baby World’s business suffered due to online competition and displacement. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The effort culminated in a 1999 civil lawsuit against Larios, who was then living in Florida as part of a plea agreement with federal prosecutors regarding other assassinations. Four years later, a jury found him liable for torture, crimes against humanity and extrajudicial killing, and awarded the Cabellos $4 million in damages. (Dania called the figure “symbolic,” saying they don’t expect to ever receive the money.) According to the Center for Justice and Accountability, it was the first time a Pinochet operative was tried in the United States for human rights violations.\u003c/p>\n\u003cp>The United States’ hand in Pinochet’s coup, particularly training Larios through the School of the Americas, instilled in the Cabellos a sensitivity to abuses of power that easily dovetails with prison abolitionism. Dania’s brother interned with Critical Resistance, and her activism ties enabled the acquisition. She hopes it inspires more wealthy people to support collective ownership, and beamed that Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda to “spread messages of strength and freedom” from the building.\u003c/p>\n\u003cp>Still, it’s “bittersweet,” Dania noted, because her parents felt financially forced to close the business and sell the building. She noted her generation’s habit of entering a store to “taste it, smell it, bounce on it,” and then going home to buy it online.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“But we’re all thrilled and proud to be affiliated with Critical Resistance,” she said. “What they do is in line with what my family did for 30 years.”\u003c/p>\n\n",
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"title": "How Prison Abolitionists Acquired a Former Baby Store in Oakland's Temescal District | KQED",
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"headline": "How Prison Abolitionists Acquired a Former Baby Store in Oakland's Temescal District",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the corner of 44th Street and Telegraph Avenue in Oakland, amid the upstart cafes and yoga studios of the Temescal district, a longtime baby shop is becoming a center for prison abolition.\u003c/p>\n\u003cp>Where months ago the building’s blue facade advertised toys and car seats, now murals and slogans promote a world without incarceration. An image of a white dove ascends from brown hands, and a woman blows the word “Libertad” from a conch shell. Window banners mark local campaigns against police conferences and gang injunctions, and lettering above the 7,000-square-foot corner storefront’s entrance announces the new occupants’ intentions: “Building People Power.”\u003c/p>\n\u003cp>This will be the new national offices of \u003ca href=\"http://criticalresistance.org/\">Critical Resistance\u003c/a>. The prison abolitionist group, cofounded 20 years ago by the activist and scholar Angela Davis, recently acquired the $3.3 million real estate through a young supporter who’s vowed to “radically redistribute” her inherited wealth, and is building offices and gathering space to share with allied groups. It’s an improbable fate for commercial property in an area synonymous with the city’s influx of young professionals.\u003c/p>\n\u003cp>And the unlikely deal required even more surprisingly interlocked interests: The Cabellos, who ran Baby World for decades, sold the building to Critical Resistance after rejecting offers from developers and corporate retailers (including one they blame for helping drive them out of business). They wanted to mitigate gentrification in North Oakland, and were endeared to the nonprofit’s politics by their harrowing experience of the United States-backed coup in their native Chile.\u003c/p>\n\u003cp>“I’d just seen \u003cem>Black Panther\u003c/em>,” recalled Dania Cabello, the business owners’ 36-year-old daughter, of helping solicit Critical Resistance, where her brother once interned, to buy the family property. “So I was like, ‘How do we bring a real-life Wakanda Institute to Oakland?”\u003c/p>\n\u003cfigure id=\"attachment_13863804\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863804\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-800x450.jpg\" alt=\"Critical Resistance marks successful and ongoing campaigns against the prison-industrial complex in the windows of its new building. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Campaign-Posters-in-Windows.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance marks successful and ongoing campaigns against the prison-industrial complex in the windows of its new building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Abolition, Not Reform\u003c/h2>\n\u003cp>The acquisition means stability for Critical Resistance, which faces steep rent increases in its downtown Oakland offices, and a more conspicuous public presence at a time when its once-fringe ideas are going mainstream. “Look at the headlines—you have people proudly calling themselves abolitionists, the popularization of ‘abolish ICE,’” said communications director Mohamed Shehk. “It shows chipping away at state violence is an achievable reality.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Critical Resistance has several full-time employees and chapters in Los Angeles, New York City, Portland and Oakland. Part of its strategy is to dismantle the infrastructure of the prison-industrial complex, and then try to redirect public resources away from policing, surveillance and incarceration. Locally, for example, it participated in a successful coalition-based \u003ca href=\"http://stopurbanshield.org/\">campaign\u003c/a> against Urban Shield, a law-enforcement exposition criticized for promoting police militarization with emergency preparedness funds.\u003c/p>\n\u003cp>Building on the momentum of the recent San Francisco youth jail closure, Critical Resistance is working with Supervisor Matt Haney to shutter the county jail on Bryant Street. There’s broad political support for closing the seismically unsafe facility; Critical Resistance wants to go further and see that it isn’t replaced. “The idea is to reduce the incarcerated population, implement bail reform and divert people into services that make a new jail unnecessary,” Shehk said.\u003c/p>\n\u003cfigure id=\"attachment_13863808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863808\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-800x450.jpg\" alt=\"Critical Resistance was part of a coalition urging Oakland and Alameda officials to cut ties to Urban Shield.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Critical-Resistance-Building-Stop-Urban-Shield.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance was part of a coalition urging Oakland and Alameda officials to cut ties to Urban Shield. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Oakland Power Projects,” an ongoing campaign, shows another side of Critical Resistance’s work: community-based alternatives to policing. For one project, organizers canvassed Oaklanders and then developed literature about addressing health emergencies without calling the cops. Tahirah Rasheed, an Oakland native recently hired as building project manager, said the Temescal center will make these resources more accessible. “It will be a hub for racial justice and social justice organizing—especially pushing back against gentrification,” she said.\u003c/p>\n\u003cp>At a time when criminal-justice reform has widespread support, even from conservatives such as the Koch Brothers, Critical Resistance is leery of its ideas being co-opted or diluted, and often assails progressive-seeming ideas that entrench incarceration. In 2016, for example, the organization opposed a California proposition to repeal capital punishment and resentence death row prisoners to life without parole, arguing it enshrined “the other death sentence.”\u003c/p>\n\u003cp>Lately, the group has similarly challenged liberal outrage at privately-run prisons: Ruth Wilson Gilmore, the theorist and Critical Resistance cofounder, recently stressed her critique of the reformist referendum on private prisons in a \u003cem>New York Times Magazine \u003c/em>\u003ca href=\"https://www.nytimes.com/2019/04/17/magazine/prison-abolition-ruth-wilson-gilmore.html\">profile\u003c/a>, saying they play only a small, parasitic role in mass incarceration. “We don’t believe the system is broken, so we don’t want it fixed,” Critical Resistance organizer Rehana Lerandeau explained to KQED. “We want it abolished.”\u003c/p>\n\u003cfigure id=\"attachment_13863827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-800x450.jpg\" alt=\"Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda (pictured) to paint the building.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/TREAT-U-NICE.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda (pictured) to paint the building. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Philanthropy as Redistribution\u003c/h2>\n\u003cp>Rachel Gelman grew up in what she called a wealthy, owning-class family in Washington, D.C., struggling to reconcile her sharpening social-justice convictions with her privilege. Her family’s fortune, she said, derives largely from investments that benefit shareholders and executives at the expense of workers. “So, I was confused about my role in the movement,” she said.\u003c/p>\n\u003cp>Gelman, 29, is program director at Jewish Youth for Community Action, an activist and leadership training program in Piedmont. She moved to Oakland six years ago and discovered \u003ca href=\"https://resourcegeneration.org/\">Resource Generation\u003c/a>, a nonprofit that encourages wealthy young people to back leftist and progressive causes. Members of her family are philanthropists, and she considers their giving well-meaning and inspiring. But old-world charity, she said, can be “top down” or prescriptive, and it almost always entrenches status. Gelman doesn’t want her name on a theater.\u003c/p>\n\u003cp>Resource Generation, by contrast, recasts philanthropy as redistribution, stressing donations as a way to diffuse instead of bolster one’s own power. Now Gelman thinks of giving as a way to help upend the forces of capitalism, patriarchy and white supremacy that underlie her inheritance. “I believe ending this economic system that creates such drastic wealth inequality is necessary for all peoples’ humanity and dignity, including my own and that of my family,” she said.\u003c/p>\n\u003cp>Gelman was supporting Critical Resistance when the organization approached her about the Temescal building. She knew Critical Resistance was struggling with rising rents, and saw an opportunity to offer the group stability while removing property from the speculative market with her $3.3 million purchase. The company she formed to hold the building, which Critical Resistance is considering placing in a land trust, is named for an Arundhati Roy quotation: Another World Possible.\u003c/p>\n\u003cp>Critical Resistance shifted Gelman’s view of incarceration. She had gone from from being disgusted at its profiteers to embracing the idea that “any system that cages people is fundamentally inhumane,” she said. The multimillion-dollar donation to an organization that in 2017 had $373,000 in revenue reflects her optimism about the prospect of abolition, and she agreed to be interviewed in order to send a message to people with backgrounds similar to hers: “Invest in a world that benefits everybody.”\u003c/p>\n\u003cfigure id=\"attachment_13863809\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-800x450.jpg\" alt=\"The Cabellos, who ran Baby World for decades, were endeared to Critical Resistance's politics by their harrowing experience of a United States-backed coup in their native Chile.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Crititcal-Resistance-Building-Libertad-Mural.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cabellos, who ran Baby World for decades, were endeared to Critical Resistance’s politics by their harrowing experience of a United States-backed coup in their native Chile. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Bittersweet’\u003c/h2>\n\u003cp>Aldo and Cristina Cabello listed 4400 Telegraph Ave. for sale in 2017, as business at Baby World declined. Dania, their daughter, pointed to online competition and also to displacement: The family-run business, founded more than 30 years prior, found the intergenerational continuity of its customer base severed. So it was “heartbreaking,” she said, to field offers from “condo developers and mega-corporations—the antithesis of the community we want to serve.”\u003c/p>\n\u003cp>Selling to Critical Resistance, though, appealed to the Cabellos’ abiding quest for justice. They came to Oakland as political refugees from Chile in 1973 after Augusto Pinochet, with United States government support, seized power in a military coup. A hit squad known as the Caravan of Death had executed Aldo’s brother Winston, and they feared for their lives. “My father was actually taken in on a couple occasions and released alive,” Dania said. “That was rare.”\u003c/p>\n\u003cp>Living in North Oakland with Dania’s two elder sisters, the Cabellos started selling refurbished electronics and baby accessories at the Coliseum Flea Market. “My memory is bleaching used toys in the backyard,” Dania said. The hustle led to small storefronts and, in the 1990s, the property on Telegraph Avenue. All the while, Aldo and other exiled family members researched the role of Armando Fernandez Larios, an officer in the Caravan of Death, in Winston’s slaying.\u003c/p>\n\u003cfigure id=\"attachment_13863828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-800x450.jpg\" alt=\"Dania Cabello said Baby World's business suffered due to online competition and displacement.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/CORNER-SIGN.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dania Cabello said Baby World’s business suffered due to online competition and displacement. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The effort culminated in a 1999 civil lawsuit against Larios, who was then living in Florida as part of a plea agreement with federal prosecutors regarding other assassinations. Four years later, a jury found him liable for torture, crimes against humanity and extrajudicial killing, and awarded the Cabellos $4 million in damages. (Dania called the figure “symbolic,” saying they don’t expect to ever receive the money.) According to the Center for Justice and Accountability, it was the first time a Pinochet operative was tried in the United States for human rights violations.\u003c/p>\n\u003cp>The United States’ hand in Pinochet’s coup, particularly training Larios through the School of the Americas, instilled in the Cabellos a sensitivity to abuses of power that easily dovetails with prison abolitionism. Dania’s brother interned with Critical Resistance, and her activism ties enabled the acquisition. She hopes it inspires more wealthy people to support collective ownership, and beamed that Critical Resistance commissioned muralist-activists Leslie “Dime” Lopez and Dominic “Treat U Nice” Villeda to “spread messages of strength and freedom” from the building.\u003c/p>\n\u003cp>Still, it’s “bittersweet,” Dania noted, because her parents felt financially forced to close the business and sell the building. She noted her generation’s habit of entering a store to “taste it, smell it, bounce on it,” and then going home to buy it online.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But we’re all thrilled and proud to be affiliated with Critical Resistance,” she said. “What they do is in line with what my family did for 30 years.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "to-reduce-loitering-a-plaza-downtown-oakland-landlords-plan-to-annex-a-street",
"title": "To ‘Reduce Loitering,’ a Plaza? Downtown Oakland Landlords Plan To Annex a Street",
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"headTitle": "To ‘Reduce Loitering,’ a Plaza? Downtown Oakland Landlords Plan To Annex a Street | KQED",
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"content": "\u003cp>\u003cem>Updated Friday, 12: 30 p.m.\u003c/em>\u003c/p>\n\u003cp>In May, Oakland City Council approved a plan to dramatically transform 13th Street immediately east of Broadway. Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets. Programming, such as live music and yoga, will then “activate” the newly-dubbed “13th Street Commons.”\u003c/p>\n\u003cp>But what looks like an ambitious public infrastructure project led by the City of Oakland was in fact sponsored and proposed by the Downtown Oakland Association (DOA), a consortium of area landlords and realtors, and it will be patrolled by the organization’s private security guards. The association expects the three-year pilot project to break ground by the end of the year.\u003c/p>\n\u003cp>The \u003ca href=\"https://downtownoakland.org/\">Downtown Oakland Association\u003c/a> is subsidized by taxpayers, but it operates independently of city government; councilmembers approved the street-wide overhaul without public discussion. Now its plaza stands to benefit association leadership while threatening some small businesses. And for a “Pavement to Parks” initiative professing to improve the commons, association documents show a seemingly counter-intuitive goal: “Reduce loitering.”\u003c/p>\n\u003cfigure id=\"attachment_13863003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863003 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-800x450.jpg\" alt=\"Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets. \u003ccite>(Community Design + Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The association’s description of the incoming parklets being “for merchants and cafes to use for seating” would seem to contradict the city’s requirement that parklets “remain publicly accessible” and include signs to this effect. But according to an Oakland public information officer, the 13th Street Commons project is not part of the city’s official parklet program and not subject to its rules.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A park that reduces loitering—how ironic,” said Paul Boden of \u003ca href=\"https://wraphome.org/\">Western Regional Advocacy Project\u003c/a>, which sponsored a recent UC Berkeley study exploring how Business Improvement District (BID) organizations including the DOA criminalize homelessness. “It’s about removing the homeless and poor from what the downtown BID wants to be a mall hallway.”\u003c/p>\n\u003cp>The Downtown Oakland Association argues the plaza is needed to deter crime, and some small businesses agree. Critics, however, see a ploy to discourage the homeless and young people who’ve long congregated near Oakland City Center. Regardless the project shows the extraordinary power of the association and other Business Improvement District organizations to shape and police public space with little oversight, even to annex a right-of-way.\u003c/p>\n\u003cfigure id=\"attachment_13863006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Goodwill-gone-800x450.jpg\" alt=\"Burger King and Goodwill recently shuttered on 13th & Broadway.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burger King and Goodwill recently shuttered on 13th & Broadway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Homeless Exclusion Districts’\u003c/strong>\u003c/p>\n\u003cp>The Downtown Oakland Association, like dozens of other organizations contracted with municipalities to run Business Improvement Districts in the Bay Area, is funded by property tax levies on real-estate within its boundaries. The city collects the funds on behalf of the BID, including on government-owned property such as Oakland City Hall. Oakland’s budget earmarks more than $260,000 annually for BIDs, a sizable public subsidy for organizations generally led by wealthy property owners.\u003c/p>\n\u003cp>The Downtown Oakland Association describes its role as marketing and maintaining the district to improve property values, and it organizes events such as live music at Latham Square Plaza. But the association’s most recent annual report shows the bulk of its $1.2 million budget in 2017 went to “security ambassadors” via a contract with Nashville company Block by Block. The private security guards, coordinating with Oakland police, have tasks including providing hospitality, buffing graffiti and “removal of transients,” according to association documents.\u003c/p>\n\u003cp>In a recent example of this work, an association safety report from March boasts of its “biggest victory for 2019 thus far”—serving a three year restraining order to prohibit Melvin Jones, a homeless man, from entering Franklin Square. Jones’ behavior during mental health crises prompted a large proportion of the district’s calls for service. The restraining order seems to undermine the DOA’s claim that its security guards connect homeless people with services.\u003c/p>\n\u003cp>“We are uncertain where Melvin will end up,” reads the report, before worrying aloud that he will return: “Will it be in the district?”\u003c/p>\n\u003cfigure id=\"attachment_13863007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-800x450.jpg\" alt=\"Justin Carder of E.M. Wolfman General Interest Small Bookstore is among the 13th Street merchants skeptical of the incoming plaza.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Carder of E.M. Wolfman General Interest Small Bookstore is among the 13th Street merchants skeptical of the incoming plaza. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 UC Berkeley study “\u003ca href=\"https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3221446\">Homeless Exclusion Districts\u003c/a>” surveyed 189 BID organizations in 69 California cities, including Oakland, San Francisco and Berkeley, and found they impose an “additional form of policing, surveillance and harassment” on unsheltered people. The organizations’ policing practices, the study argues, is increasingly based on homeless people’s status rather than behavior.\u003c/p>\n\u003cp>Despite their nonprofit designation, which limits lobbying activities, the study also found BIDs actively advocate for anti-homeless laws. For example, they have expended significant resources supporting ordinances that prohibit sitting or lying on sidewalks, which have been criticized for being selectively enforced against the homeless.\u003c/p>\n\u003cp>Boden of Western Regional Advocacy Project, a coalition of homeless advocacy organizations, said the 13th Street Commons project is a troubling expansion of the Downtown Oakland Association’s territory that connects to a trend of BIDs encompassing city parks. Last year City Council voted to expand the renamed Downtown Oakland Community Benefit District, boosting the DOA’s annual budget to $2 million. \u003c/p>\n\u003cp>“Who else can close a street and call it a park that discourages loitering?” Boden said. “This is public money, public space, but it benefits private property owners, mostly big corporations.”\u003c/p>\n\u003cp>Steve Snider, executive director of the Downtown Oakland Association, called the UC Berkeley study “flawed.” He said the 13th Street Commons will deter what he called worsening downtown crime that authorities are unable to address without help, arguing it will also improve nearby Frank Ogawa Plaza in front of City Hall.\u003c/p>\n\u003cp>“The way to do it is to encourage more hanging out, but with positive things and not all of the prostitution and drug-dealing,” he said. Referring to a January shooting at 13th & Broadway, Snider claimed downtown employers such as Clorox have threatened to leave due to violence. (A Clorox spokesperson denied this: “We are committed to Oakland.”) “It’s not advisable to walk by at night,” Snider said. “People avoid getting off BART at 12th Street.”\u003c/p>\n\u003cfigure id=\"attachment_13863002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-street-empty-800x450.jpg\" alt=\"Downtown Oakland Association leadership says the plaza will deter drug-dealing and prostitution downtown.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Downtown Oakland Association leadership says the plaza will deter drug-dealing and prostitution downtown. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Targeted for Removal’\u003c/strong>\u003c/p>\n\u003cp>On the afternoons and evenings this reporter visited recently, the people at 13th & Broadway appeared to be homeless or waiting for the bus. Once, a handful of people were shooting dice.\u003c/p>\n\u003cp>On one corner is an office building recently acquired by Goldman Sachs. Burger King and Goodwill stand shuttered across the street; a Goodwill spokesperson said the businesses’ leases were recently terminated. A cashier next door at Buongiorno Gourmet Express said the sandwich shop is now on a month to month lease.\u003c/p>\n\u003cp>The plaza is a boon to Downtown Oakland Association leadership. Marketing materials for Burger King and Goodwill’s former units prominently feature the 13th Street Commons; they’re listed by Jamie Flaherty-Evans, a Colliers International realtor who sits on the association’s board. Similarly the plaza sits between the 12th St. BART entrance and an incoming residential tower by Carmel Partners, a developer represented on the DOA board by executive Greg Pasquali.\u003c/p>\n\u003cp>The plaza project also stands to directly benefit Snider, the DOA executive director, because the event programming, he told KQED, will be handled by his own company, Oakland Venue Management. Snider’s company is the Downtown Oakland Association’s second largest contractor (after Block by Block), receiving more than $1 million since 2012, federal tax records show.\u003c/p>\n\u003cfigure id=\"attachment_13863005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-800x450.jpg\" alt=\"The plaza project is a boon to Downtown Oakland Association leadership.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza project is a boon to Downtown Oakland Association leadership. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When City Council approved the 13th Street Commons, the staff report claimed “100 percent” of the block’s merchants, property owners, employers and community members support the project. Some businesses on the block welcome the change—Greg Archer of Archer Bicycles called Burger King a “crime magnet,” and Melissa Axelrod of Mockingbird is excited by the possibility of outdoor seating—but others are concerned it will hasten more establishments’ displacement.\u003c/p>\n\u003cp>Justin Carder opened E.M. Wolfman General Interest Small Bookstore across the street from Tribune Tower in 2013. The adjoining storefronts were empty, but the neighborhood wasn’t. “People hanging out on the corner have always come in to use the bathroom,” Carder said. “We’re down with that.” Over time, Good Mother Gallery opened next door and Unity, a queer skateboarding collective, moved into the loft above the bookshop. Now, it’s not unusual for Wolfman to host a poetry reading while an art show opens at Good Mother, filling the sidewalks.\u003c/p>\n\u003cp>Carder believes the 13th Street Commons is part of sanitizing the area between BART and the Carmel development. People made the block their own when it was perceived as derelict, and now they’re “targeted for removal,” Carder said. “And they have no voice in this process.” Behind the DOA’s vision of a 13th St. free of loitering is an assumption, he believes, that anyone who isn’t a customer is a criminal. “That’s a really shortsighted idea of what makes cities great.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Carder said he wasn’t consulted about 13th Street Commons, and he’s concerned about the programming disrupting readings at Wolfman, an important local literary hub. He’s also worried about what it means for his store’s longevity overall. “Our landlord has been firm about keeping our leases month to month,” Carder said. “Now I feel like our future is on even shakier footing.”\u003c/p>\n\n",
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"excerpt": "The incoming 13th Street Commons shows the extraordinary power of Business Improvement District organizations to shape and police public space—with little oversight. ",
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"title": "To ‘Reduce Loitering,’ a Plaza? Downtown Oakland Landlords Plan To Annex a Street | KQED",
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"headline": "To ‘Reduce Loitering,’ a Plaza? Downtown Oakland Landlords Plan To Annex a Street",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Friday, 12: 30 p.m.\u003c/em>\u003c/p>\n\u003cp>In May, Oakland City Council approved a plan to dramatically transform 13th Street immediately east of Broadway. Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets. Programming, such as live music and yoga, will then “activate” the newly-dubbed “13th Street Commons.”\u003c/p>\n\u003cp>But what looks like an ambitious public infrastructure project led by the City of Oakland was in fact sponsored and proposed by the Downtown Oakland Association (DOA), a consortium of area landlords and realtors, and it will be patrolled by the organization’s private security guards. The association expects the three-year pilot project to break ground by the end of the year.\u003c/p>\n\u003cp>The \u003ca href=\"https://downtownoakland.org/\">Downtown Oakland Association\u003c/a> is subsidized by taxpayers, but it operates independently of city government; councilmembers approved the street-wide overhaul without public discussion. Now its plaza stands to benefit association leadership while threatening some small businesses. And for a “Pavement to Parks” initiative professing to improve the commons, association documents show a seemingly counter-intuitive goal: “Reduce loitering.”\u003c/p>\n\u003cfigure id=\"attachment_13863003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13863003 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-800x450.jpg\" alt=\"Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-St-rendering-courtesy-DOA.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Four lanes will become one, with furniture and landscaping extending the block’s sidewalk into the street to make a sprawling plaza dotted with parklets. \u003ccite>(Community Design + Architecture)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The association’s description of the incoming parklets being “for merchants and cafes to use for seating” would seem to contradict the city’s requirement that parklets “remain publicly accessible” and include signs to this effect. But according to an Oakland public information officer, the 13th Street Commons project is not part of the city’s official parklet program and not subject to its rules.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A park that reduces loitering—how ironic,” said Paul Boden of \u003ca href=\"https://wraphome.org/\">Western Regional Advocacy Project\u003c/a>, which sponsored a recent UC Berkeley study exploring how Business Improvement District (BID) organizations including the DOA criminalize homelessness. “It’s about removing the homeless and poor from what the downtown BID wants to be a mall hallway.”\u003c/p>\n\u003cp>The Downtown Oakland Association argues the plaza is needed to deter crime, and some small businesses agree. Critics, however, see a ploy to discourage the homeless and young people who’ve long congregated near Oakland City Center. Regardless the project shows the extraordinary power of the association and other Business Improvement District organizations to shape and police public space with little oversight, even to annex a right-of-way.\u003c/p>\n\u003cfigure id=\"attachment_13863006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Goodwill-gone-800x450.jpg\" alt=\"Burger King and Goodwill recently shuttered on 13th & Broadway.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Goodwill-gone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Burger King and Goodwill recently shuttered on 13th & Broadway. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Homeless Exclusion Districts’\u003c/strong>\u003c/p>\n\u003cp>The Downtown Oakland Association, like dozens of other organizations contracted with municipalities to run Business Improvement Districts in the Bay Area, is funded by property tax levies on real-estate within its boundaries. The city collects the funds on behalf of the BID, including on government-owned property such as Oakland City Hall. Oakland’s budget earmarks more than $260,000 annually for BIDs, a sizable public subsidy for organizations generally led by wealthy property owners.\u003c/p>\n\u003cp>The Downtown Oakland Association describes its role as marketing and maintaining the district to improve property values, and it organizes events such as live music at Latham Square Plaza. But the association’s most recent annual report shows the bulk of its $1.2 million budget in 2017 went to “security ambassadors” via a contract with Nashville company Block by Block. The private security guards, coordinating with Oakland police, have tasks including providing hospitality, buffing graffiti and “removal of transients,” according to association documents.\u003c/p>\n\u003cp>In a recent example of this work, an association safety report from March boasts of its “biggest victory for 2019 thus far”—serving a three year restraining order to prohibit Melvin Jones, a homeless man, from entering Franklin Square. Jones’ behavior during mental health crises prompted a large proportion of the district’s calls for service. The restraining order seems to undermine the DOA’s claim that its security guards connect homeless people with services.\u003c/p>\n\u003cp>“We are uncertain where Melvin will end up,” reads the report, before worrying aloud that he will return: “Will it be in the district?”\u003c/p>\n\u003cfigure id=\"attachment_13863007\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863007\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-800x450.jpg\" alt=\"Justin Carder of E.M. Wolfman General Interest Small Bookstore is among the 13th Street merchants skeptical of the incoming plaza.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Wolfman-exterior.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Carder of E.M. Wolfman General Interest Small Bookstore is among the 13th Street merchants skeptical of the incoming plaza. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 UC Berkeley study “\u003ca href=\"https://papers.ssrn.com/sol3/papers.cfm?abstract_id=3221446\">Homeless Exclusion Districts\u003c/a>” surveyed 189 BID organizations in 69 California cities, including Oakland, San Francisco and Berkeley, and found they impose an “additional form of policing, surveillance and harassment” on unsheltered people. The organizations’ policing practices, the study argues, is increasingly based on homeless people’s status rather than behavior.\u003c/p>\n\u003cp>Despite their nonprofit designation, which limits lobbying activities, the study also found BIDs actively advocate for anti-homeless laws. For example, they have expended significant resources supporting ordinances that prohibit sitting or lying on sidewalks, which have been criticized for being selectively enforced against the homeless.\u003c/p>\n\u003cp>Boden of Western Regional Advocacy Project, a coalition of homeless advocacy organizations, said the 13th Street Commons project is a troubling expansion of the Downtown Oakland Association’s territory that connects to a trend of BIDs encompassing city parks. Last year City Council voted to expand the renamed Downtown Oakland Community Benefit District, boosting the DOA’s annual budget to $2 million. \u003c/p>\n\u003cp>“Who else can close a street and call it a park that discourages loitering?” Boden said. “This is public money, public space, but it benefits private property owners, mostly big corporations.”\u003c/p>\n\u003cp>Steve Snider, executive director of the Downtown Oakland Association, called the UC Berkeley study “flawed.” He said the 13th Street Commons will deter what he called worsening downtown crime that authorities are unable to address without help, arguing it will also improve nearby Frank Ogawa Plaza in front of City Hall.\u003c/p>\n\u003cp>“The way to do it is to encourage more hanging out, but with positive things and not all of the prostitution and drug-dealing,” he said. Referring to a January shooting at 13th & Broadway, Snider claimed downtown employers such as Clorox have threatened to leave due to violence. (A Clorox spokesperson denied this: “We are committed to Oakland.”) “It’s not advisable to walk by at night,” Snider said. “People avoid getting off BART at 12th Street.”\u003c/p>\n\u003cfigure id=\"attachment_13863002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863002\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/13th-street-empty-800x450.jpg\" alt=\"Downtown Oakland Association leadership says the plaza will deter drug-dealing and prostitution downtown.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/13th-street-empty.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Downtown Oakland Association leadership says the plaza will deter drug-dealing and prostitution downtown. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>‘Targeted for Removal’\u003c/strong>\u003c/p>\n\u003cp>On the afternoons and evenings this reporter visited recently, the people at 13th & Broadway appeared to be homeless or waiting for the bus. Once, a handful of people were shooting dice.\u003c/p>\n\u003cp>On one corner is an office building recently acquired by Goldman Sachs. Burger King and Goodwill stand shuttered across the street; a Goodwill spokesperson said the businesses’ leases were recently terminated. A cashier next door at Buongiorno Gourmet Express said the sandwich shop is now on a month to month lease.\u003c/p>\n\u003cp>The plaza is a boon to Downtown Oakland Association leadership. Marketing materials for Burger King and Goodwill’s former units prominently feature the 13th Street Commons; they’re listed by Jamie Flaherty-Evans, a Colliers International realtor who sits on the association’s board. Similarly the plaza sits between the 12th St. BART entrance and an incoming residential tower by Carmel Partners, a developer represented on the DOA board by executive Greg Pasquali.\u003c/p>\n\u003cp>The plaza project also stands to directly benefit Snider, the DOA executive director, because the event programming, he told KQED, will be handled by his own company, Oakland Venue Management. Snider’s company is the Downtown Oakland Association’s second largest contractor (after Block by Block), receiving more than $1 million since 2012, federal tax records show.\u003c/p>\n\u003cfigure id=\"attachment_13863005\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863005\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-800x450.jpg\" alt=\"The plaza project is a boon to Downtown Oakland Association leadership.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Colliers-realty-sign.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The plaza project is a boon to Downtown Oakland Association leadership. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When City Council approved the 13th Street Commons, the staff report claimed “100 percent” of the block’s merchants, property owners, employers and community members support the project. Some businesses on the block welcome the change—Greg Archer of Archer Bicycles called Burger King a “crime magnet,” and Melissa Axelrod of Mockingbird is excited by the possibility of outdoor seating—but others are concerned it will hasten more establishments’ displacement.\u003c/p>\n\u003cp>Justin Carder opened E.M. Wolfman General Interest Small Bookstore across the street from Tribune Tower in 2013. The adjoining storefronts were empty, but the neighborhood wasn’t. “People hanging out on the corner have always come in to use the bathroom,” Carder said. “We’re down with that.” Over time, Good Mother Gallery opened next door and Unity, a queer skateboarding collective, moved into the loft above the bookshop. Now, it’s not unusual for Wolfman to host a poetry reading while an art show opens at Good Mother, filling the sidewalks.\u003c/p>\n\u003cp>Carder believes the 13th Street Commons is part of sanitizing the area between BART and the Carmel development. People made the block their own when it was perceived as derelict, and now they’re “targeted for removal,” Carder said. “And they have no voice in this process.” Behind the DOA’s vision of a 13th St. free of loitering is an assumption, he believes, that anyone who isn’t a customer is a criminal. “That’s a really shortsighted idea of what makes cities great.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carder said he wasn’t consulted about 13th Street Commons, and he’s concerned about the programming disrupting readings at Wolfman, an important local literary hub. He’s also worried about what it means for his store’s longevity overall. “Our landlord has been firm about keeping our leases month to month,” Carder said. “Now I feel like our future is on even shakier footing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Treasure Island Music Festival On Indefinite Hiatus",
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"content": "\u003cp>\u003cem>Updated Monday, 3:30 p.m. \u003c/em>\u003c/p>\n\u003cp>Noise Pop and Another Planet Entertainment announced Monday that the 2019 edition of Treasure Island Music Festival is cancelled, saying in a statement that the anticipated annual event first launched in 2007 is “on hiatus for the foreseeable future.”\u003c/p>\n\u003cp>The multi-day music festival, focused on indie-rock and increasingly electronic and hip-hop programming, occurred for the first time in Oakland last year, at Middle Harbor Shoreline Park.\u003c/p>\n\u003cp>But last month the Bay Conservation and Development Commission ordered the Port of Oakland, which oversees Middle Harbor, to cease hosting events without the regulatory agency’s approval, throwing the future of events at the shoreline location into question. [aside postID=arts_13843462,arts_13862704]\u003c/p>\n\u003cp>According to minutes from a BCDC enforcement committee meeting in July, the Port has flaunted its obligation to seek permission before reducing public access to the park by hosting ticketed events. “BCDC staff has communicated the issue over the years with the Port,” the minutes read. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Save the Bay, a conservationist group, pressured BCDC after observing adverse effects on Middle Harbor following Treasure Island Music Festival last year.\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\">previously reported\u003c/a>, in 2018 the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people in addition to Treasure Island and Blurry Vision, which each drew more than 10,000 people across their two-day runs. Last year the Port collected more than $60,000 in rental fees for the events at Middle Harbor.\u003c/p>\n\u003cp>The Port’s contracts with event promoters including APE and Blurry Vision producer Goldenvoice, which KQED previously reviewed, included no park-specific environmental stipulations aside from standard cleanup, even though Middle Harbor Shoreline Park provides important wildlife habitat for migrating and endangered and threatened species of birds.\u003c/p>\n\u003cp>The spat between the Port and BCDC contributed to the festival cancellation. “With the new issues facing the site location…putting on a festival to the degree for which our fans have come to expect over the past decade is simply not possible,” Noise Pop and APE said in a statement.\u003c/p>\n\u003cp>Treasure Island’s move to Oakland was an attempted rebound. The festival’s 2016 installment was marred by a rainstorm, prompting many artists to cancel and leading to litigation from disgruntled and injured attendees. It took a year off in 2017 before resurfacing at Middle Harbor.\u003c/p>\n\u003cp>The festival organizers’ statement goes on to note other opportunities to support local musicians and events, including Outside Lands, Noise Pop Festival and “any of the hundreds of concerts both Another Planet Entertainment and Noise Pop bring to the greater Bay Area each year.”\u003c/p>\n\u003cp>A Port of Oakland spokesperson said in a statement that it notifies BCDC about concerts but acknowledged it has been “remiss in obtaining written approvals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spokesperson added, “We’re implementing controls to make sure we fulfill BCDC’s requirements for all future concerts.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to minutes from a BCDC enforcement committee meeting in July, the Port has flaunted its obligation to seek permission before reducing public access to the park by hosting ticketed events. “BCDC staff has communicated the issue over the years with the Port,” the minutes read. “Nevertheless, these special events continue to occur without BCDC approval.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Save the Bay, a conservationist group, pressured BCDC after observing adverse effects on Middle Harbor following Treasure Island Music Festival last year.\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13843462/ruffled-feathers-can-birds-and-music-festivals-share-middle-harbor-park\">previously reported\u003c/a>, in 2018 the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people in addition to Treasure Island and Blurry Vision, which each drew more than 10,000 people across their two-day runs. Last year the Port collected more than $60,000 in rental fees for the events at Middle Harbor.\u003c/p>\n\u003cp>The Port’s contracts with event promoters including APE and Blurry Vision producer Goldenvoice, which KQED previously reviewed, included no park-specific environmental stipulations aside from standard cleanup, even though Middle Harbor Shoreline Park provides important wildlife habitat for migrating and endangered and threatened species of birds.\u003c/p>\n\u003cp>The spat between the Port and BCDC contributed to the festival cancellation. “With the new issues facing the site location…putting on a festival to the degree for which our fans have come to expect over the past decade is simply not possible,” Noise Pop and APE said in a statement.\u003c/p>\n\u003cp>Treasure Island’s move to Oakland was an attempted rebound. The festival’s 2016 installment was marred by a rainstorm, prompting many artists to cancel and leading to litigation from disgruntled and injured attendees. It took a year off in 2017 before resurfacing at Middle Harbor.\u003c/p>\n\u003cp>The festival organizers’ statement goes on to note other opportunities to support local musicians and events, including Outside Lands, Noise Pop Festival and “any of the hundreds of concerts both Another Planet Entertainment and Noise Pop bring to the greater Bay Area each year.”\u003c/p>\n\u003cp>A Port of Oakland spokesperson said in a statement that it notifies BCDC about concerts but acknowledged it has been “remiss in obtaining written approvals.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The spokesperson added, “We’re implementing controls to make sure we fulfill BCDC’s requirements for all future concerts.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"marketplace": {
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"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.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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