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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Simon is one of the headliners at this year’s Outside Lands festival, but let’s be honest: the typical fan of the “Bridge Over Troubled Water” singer is not exactly the all-day-partyin’, substance-inbibin’, stage-hoppin’, flower-crown-wearin’ festival maniac.\u003c/p>\n\u003cp>So it’s good news that Simon has added a one-off show while he’s in the Bay Area, to be held Friday, Aug. 9 at the Fox Theater in Oakland—a relatively small venue for the twelve-time Grammy winner and Rock and Roll Hall of Fame inductee. \u003c/p>\n\u003cp>Billed as an “Outside Lands pop-up show,” the concert will feature a complete headlining set by Simon, who is among the many stars in recent years to announce so-called “farewell tours.” (Simon has made exemptions for special concerts and charity causes.)\u003c/p>\n\u003cp>Tickets for the Fox Theater show run $68.50 to $128.50, and will be made available first to Outside Lands ticket holders on Thursday, Aug. 1, at 10am. Tickets to the general public go on sale Friday, Aug. 2, at 10am. \u003ca href=\"http://apeconcerts.com/events/paul-simon-outside-lands-pop-up/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The SoOakland crew is back at it again. The collective that brought Oakland events such as the Adult Prom and numerous house party events is doing something for all ages.\u003c/p>\n\u003cp>This Sunday, the \u003ca href=\"https://www.16thstreetstation.com/history\" target=\"_blank\" rel=\"noopener\">historic 16th Street Station\u003c/a> in West Oakland plays host to the annual \u003ca href=\"http://www.sooakland.com/sooakland-day-fest-2019\" target=\"_blank\" rel=\"noopener\">SoOakland DayFest\u003c/a>.\u003c/p>\n\u003cp>Three years after the City of Oakland proclaimed July 30th “SoOakland Day,” the group of Oakland-based movers and shakers—founded by \u003ca href=\"https://www.instagram.com/shaylabang1/\" target=\"_blank\" rel=\"noopener\">Shayla Jamerson\u003c/a>—is hosting a community event free for youth under 17 and seniors, and $10 for general admission. Attendees can expect over 70 vendors, folks selling food, and a kids zone with a back-to-school giveaway of over 400 free backpacks filled with materials for the new school year.\u003c/p>\n\u003cfigure id=\"attachment_13862585\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/0-2-800x531.png\" alt=\"Attendees at a SoOakland event in West Oakland, 2016\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2.png 899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at a SoOakland event in West Oakland, 2016. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music lineup includes Tiffany Gouche, Tota Shakur, Tessie, Rob Woods & Curb Service, Culture Shock, Lauren Dupree, Sazon Libre and poet Prentice Powell. And if this year is anything like past SoOakland events, there should be a few old-school cars on the scene, too. \u003ca href=\"http://www.sooakland.com/new-events/2019/8/4/sooakland-dayfest\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The SoOakland crew is back at it again. The collective that brought Oakland events such as the Adult Prom and numerous house party events is doing something for all ages.\u003c/p>\n\u003cp>This Sunday, the \u003ca href=\"https://www.16thstreetstation.com/history\" target=\"_blank\" rel=\"noopener\">historic 16th Street Station\u003c/a> in West Oakland plays host to the annual \u003ca href=\"http://www.sooakland.com/sooakland-day-fest-2019\" target=\"_blank\" rel=\"noopener\">SoOakland DayFest\u003c/a>.\u003c/p>\n\u003cp>Three years after the City of Oakland proclaimed July 30th “SoOakland Day,” the group of Oakland-based movers and shakers—founded by \u003ca href=\"https://www.instagram.com/shaylabang1/\" target=\"_blank\" rel=\"noopener\">Shayla Jamerson\u003c/a>—is hosting a community event free for youth under 17 and seniors, and $10 for general admission. Attendees can expect over 70 vendors, folks selling food, and a kids zone with a back-to-school giveaway of over 400 free backpacks filled with materials for the new school year.\u003c/p>\n\u003cfigure id=\"attachment_13862585\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862585\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/0-2-800x531.png\" alt=\"Attendees at a SoOakland event in West Oakland, 2016\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2.png 899w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at a SoOakland event in West Oakland, 2016. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The music lineup includes Tiffany Gouche, Tota Shakur, Tessie, Rob Woods & Curb Service, Culture Shock, Lauren Dupree, Sazon Libre and poet Prentice Powell. And if this year is anything like past SoOakland events, there should be a few old-school cars on the scene, too. \u003ca href=\"http://www.sooakland.com/new-events/2019/8/4/sooakland-dayfest\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Since 1979, West Edge Opera has jumped all over the East Bay from one unlikely venue to another. This year, the company known for pushing the boundaries of opera has landed at yet another out-of-the-way spot: a former train warehouse at the foot of the Bay Bridge. \u003c/p>\n\u003cp>But the location isn’t the most interesting thing about West Edge’s new season. For my money, it’s \u003cem>Breaking the Waves\u003c/em>, a new opera by Missy Mazzoli and Royce Vavrek, based on the bleak 1996 Lars Von Trier film. The West Edge production stars Sara LeMesh as Bess McNeill, the young wife whose injured husband encourages her to sleep with other men due to his immobility; reviewing its premiere three years ago, the \u003cem>New York Times\u003c/em> praised its lush orchestration and “powerful, permeating mood.”\u003c/p>\n\u003cp>I don’t know anybody who rushes to defend Von Trier’s treatment of women, either in his films or \u003ca href=\"https://www.vanityfair.com/hollywood/2017/11/lars-von-trier-production-company-zentropa-allegations\" rel=\"noopener\" target=\"_blank\">behind the camera\u003c/a>. So, as if to offset \u003cem>Breaking the Waves\u003c/em>, West Edge’s season also includes Christoph Willibald Gluck’s \u003cem>Orfeo ed Euridice\u003c/em>, conducted, directed, choreographed, designed, and performed by women and non-binary artists. And rounding out the season is \u003cem>The Threepenny Opera\u003c/em>, with Maya Kherani as Polly Peachum (above) and Derek Chester as Mack the Knife. Something tells me that \u003cem>Threepenny\u003c/em>‘s story about class morality and capitalism will resonate extra strong on the Oakland shore, with the skyline of San Francisco as a backdrop.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>ISSUES, the Oakland print emporium and newsstand, returned to Piedmont Avenue in June after one year in the shipping-container complex MacArthur Annex. Now, though, its short-lived shipping-container location is reopening as Hubris + Sons, a used bookshop and publisher run by ISSUES co-owner Joe Colley, with live music on Saturday, Aug. 3.\u003c/p>\n\u003cp>\u003ca href=\"https://issuesshop.com/\">ISSUES\u003c/a> proprietors Colley and Noelle Teele, who \u003ca href=\"https://www.eastbayexpress.com/oakland/after-eleven-years-beloved-print-retailer-issues-relocates-and-downsizes/Content?oid=17254559\">opened\u003c/a> the exhaustively stocked shop off Piedmont Avenue in 2007, found the MacArthur Annex location too small for customers to comfortably browse thousands of titles. Hubris + Sons, by contrast, will stock a specialized selection of used books on subjects including art, philosophy, occult and counterculture history, Colley explained.\u003c/p>\n\u003cp>The shop will also publish facsimile reproductions of lost countercultural texts, he said. Tabling for ISSUES at the San Francisco Art Book Fair this past weekend, Colley quietly debuted the first two titles, both from the 1970s: \u003cem>The Natural Childbirth of Tara\u003c/em>, a couple’s journal of their earthy approach to pregnancy (with vivid photography), and \u003cem>The Book of the Mother\u003c/em>, a California commune’s spiritual manifesto (with psychedelic parenting advice).\u003c/p>\n\u003cp>They’re rare titles that Colley believes should be available to researchers. “They happen to deal with children only by coincidence,” he said, adding that maybe “‘hubris’ applies to me for even trying to start this venture. And no, I have no children or sons.”\u003c/p>\n\u003cp>The grand opening party for Hubris + Sons: Shop for Creative Research, co-presented by neighboring Contact Records, occurs Saturday, Aug. 3 in the MacArthur Annex courtyard with a performance by Oakland synth-pop duo \u003ca href=\"https://vvdwndws.bandcamp.com/album/vvd-wndws\">VVD WNDWS\u003c/a>.\u003cem>—Sam Lefebvre\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>ISSUES, the Oakland print emporium and newsstand, returned to Piedmont Avenue in June after one year in the shipping-container complex MacArthur Annex. Now, though, its short-lived shipping-container location is reopening as Hubris + Sons, a used bookshop and publisher run by ISSUES co-owner Joe Colley, with live music on Saturday, Aug. 3.\u003c/p>\n\u003cp>\u003ca href=\"https://issuesshop.com/\">ISSUES\u003c/a> proprietors Colley and Noelle Teele, who \u003ca href=\"https://www.eastbayexpress.com/oakland/after-eleven-years-beloved-print-retailer-issues-relocates-and-downsizes/Content?oid=17254559\">opened\u003c/a> the exhaustively stocked shop off Piedmont Avenue in 2007, found the MacArthur Annex location too small for customers to comfortably browse thousands of titles. Hubris + Sons, by contrast, will stock a specialized selection of used books on subjects including art, philosophy, occult and counterculture history, Colley explained.\u003c/p>\n\u003cp>The shop will also publish facsimile reproductions of lost countercultural texts, he said. Tabling for ISSUES at the San Francisco Art Book Fair this past weekend, Colley quietly debuted the first two titles, both from the 1970s: \u003cem>The Natural Childbirth of Tara\u003c/em>, a couple’s journal of their earthy approach to pregnancy (with vivid photography), and \u003cem>The Book of the Mother\u003c/em>, a California commune’s spiritual manifesto (with psychedelic parenting advice).\u003c/p>\n\u003cp>They’re rare titles that Colley believes should be available to researchers. “They happen to deal with children only by coincidence,” he said, adding that maybe “‘hubris’ applies to me for even trying to start this venture. And no, I have no children or sons.”\u003c/p>\n\u003cp>The grand opening party for Hubris + Sons: Shop for Creative Research, co-presented by neighboring Contact Records, occurs Saturday, Aug. 3 in the MacArthur Annex courtyard with a performance by Oakland synth-pop duo \u003ca href=\"https://vvdwndws.bandcamp.com/album/vvd-wndws\">VVD WNDWS\u003c/a>.\u003cem>—Sam Lefebvre\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ita Forte simply wants funding for a recreational basketball league for women.\u003c/p>\n\u003cp>I’m talking about 5-on-5, 12-minute games, for a block of two hours, once a week. Seems easy enough, right?\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>You’d especially think people would be behind the idea after the U.S. women’s national soccer team captured the World Cup for the fourth time, raising visibility for women’s sports and obviating the need for equal pay (highlighted by pieces such as this financial comparison between professional soccer-playing men and women, published by \u003ca href=\"https://www.forbes.com/sites/tomspiggle/2019/07/19/what-the-u-s-womens-soccer-controversy-says-about-equal-pay/#3faa05866b50\" target=\"_blank\" rel=\"noopener noreferrer\">Forbes\u003c/a>).\u003c/p>\n\u003cp>Well, after shooting hoops with Forte, I see how it’s not that simple. Convincing folks to put a couple thousand dollars behind a women’s pickup league seems to be a bit lower on the totem pole of common concerns in this current climate. I mean, have you seen the news lately?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>President Trump’s racist \u003ca href=\"https://twitter.com/realDonaldTrump/status/1150381395078000643\" target=\"_blank\" rel=\"noopener noreferrer\">tweets\u003c/a> toward four Democratic congresswomen—representatives Ayanna S. Pressley, Rashida Tlaib, Alexandria Ocasio-Cortez and Ilhan Omar—is up there with some of the wildest rhetoric I’ve ever heard from an elected official. And then you’ve got old heads in the rap game making blatantly erroneous comments, like \u003ca href=\"https://www.youtube.com/watch?v=6VplqglPYGU\" target=\"_blank\" rel=\"noopener noreferrer\">Jermaine Dupri\u003c/a> claiming that all female rappers rap about the same subjects and then trying to cover his ass by creating some \u003ca href=\"https://twitter.com/jermainedupri/status/1149775719750238209?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149775719750238209&ref_url=https%3A%2F%2Fthegrio.com%2F2019%2F07%2F15%2Fjermaine-dupri-women-rap-backlash-response%2F\" target=\"_blank\" rel=\"noopener noreferrer\">So So Def Female Cypher\u003c/a> thingy. Clearly pandering.\u003c/p>\n\u003cp>And that’s just a couple outrageous headlines from this month. But there’s a common thread that ties together these issues, from unequal pay to unequal resources. It’s a matter of unequal respect… even here in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13861745\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/0-1-1-800x533.jpg\" alt=\"The Women's All-Ball squad!\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Women’s All B-Ball squad. Photo by Kim Woozy. \u003ccite>(Rita Forte)\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\">R\u003c/span>ita and I met up recently at Strawberry Creek Park in West Berkeley, shot some hoops and talked.\u003c/p>\n\u003cp>The ball was slightly overinflated, the rim was bouncy, and I made more excuses than buckets as I tried to clear my jump shot of cobwebs. Meanwhile, Rita worked on her footwork in the key and knocked down some mid-range jumpers while explaining the women’s hoops landscape, and how it ties into a larger story of women in America.\u003c/p>\n\u003cp>“There’s not enough opportunities for women to come on the basketball court and expect there to be other women out there playing,” Rita said as she dribbled and shot.\u003c/p>\n\u003cp>I grabbed the ball as it went through the net and tossed Rita her change, as she continued. “When you walk by the park, and you don’t see [groups of women], that means we have to organize. It doesn’t mean that we don’t want to play—because I was there. I wanted to play after high school and college, and there were others like me. But we had to organize.”\u003c/p>\n\u003cp>Rita, an Oakland native, says she came up playing ball, but a horrible knee injury in high school derailed her pro hoop dreams. Even still, she attended Williams College on a track scholarship, and along the way fell in love with DJing—that’s how I met her, on the ones and twos during the hyphy movement.\u003c/p>\n\u003cp>It was around that same time, back in 2003, when she was looking for pickup games but couldn’t find any. The seed was planted, and some years later, she teamed up with Amanda Lesky and started \u003ca href=\"https://www.facebook.com/WomensAllBBall/\" target=\"_blank\" rel=\"noopener noreferrer\">Women’s All B-Ball\u003c/a>. Over the past five years, they’ve run the league mostly out of pocket, with additional support from players and local businesses, including donated balls from Decathlon in Emeryville.\u003c/p>\n\u003cp>Their efforts have sometimes been scrappy, playing in gyms with unfavorable conditions or on courts where someone involved in the game is also an employee at the facility, allowing them access.\u003c/p>\n\u003cp>“From about 2015-2016, we played at Berkeley Youth Alternatives. And one of the players used to work there,” Rita said. “The ceilings are low and it’s shorter than the regular court.”\u003c/p>\n\u003cp>But that’s where they had their best turnout. At one point, Rita says, they had about 40 women show up for the three-hour hoop sessions, despite playing in a lackluster gym.\u003c/p>\n\u003cp>Now, Rita and her cohorts have turned to \u003ca href=\"https://ifundwomen.com/projects/womens-basketball-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">crowdfunding, via Ifundwomen.com\u003c/a>. The campaign has run about a month, but they’ve currently met just over 12% of their $15,000 fundraising goal with about a week left in the campaign.\u003c/p>\n\u003cp>“You can’t do a tournament for free,” explained Rita, as I practiced my crossover and pulled up for a shot. “You have to pay for food, referees, jerseys—we give trophies and cash prizes too,” Rita said, grabbing a rebound off my missed shot. She told me these hoopers are in their 20s and 30s, “but we want to do something for them.”\u003c/p>\n\u003cp>And it’s not just about the money, it’s about the resources, like access to gyms. Last week, Rita and I tried to meet at a YMCA in San Francisco during a scheduled women’s game, but it was canceled hours before tipoff. Rita also invited me to an Oakland Rise game, a local women’s semi-pro team. But it would’ve been hard for me to get to their home court, which is way out in Concord.\u003c/p>\n\u003cp>There are a few other pick-up leagues around the Bay Area, like \u003ca href=\"https://www.instagram.com/pickherupball/\" target=\"_blank\" rel=\"noopener noreferrer\">Pick Her Up Ball\u003c/a> at Head-Royce—but even their founder got some inspiration from Women’s All B-Ball. I wouldn’t have even known about the Head-Royce gym if it weren’t for my experience playing hoops for a rival college prep school here in the Bay Area. It turns out that Rita also went to a college prep school through the same program I did, A Better Chance, which takes kids out of the hood and puts them in private school settings.\u003c/p>\n\u003cp>Rita attended an all-girls boarding school in Southern California, and because there was a neighboring all-boys school, teenaged Rita got to compare and contrast the different institutions. She saw that with equal resources, there’s equal performance from all parties.\u003c/p>\n\u003cp>Damn, imagine a world in which everyone had equal access to resources… I… I actually can’t even imagine it.\u003c/p>\n\u003cfigure id=\"attachment_13861746\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/0-2-800x600.jpg\" alt=\"A few participants of the Women's All B-Ball League\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2.jpg 1979w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A few participants of the Women’s All B-Ball League. Photo by Kim Woozy \u003ccite>(Rita Forte)\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\">B\u003c/span>ut that’s where Rita’s head is. She long ago threw her hoop shoes over the proverbial power line, and retired her dreams of balling in the big leagues, and now she gets her competitive edge off by organizing to fill voids in society.\u003c/p>\n\u003cp>“Ya’ll have the gyms, we have the formula, we can create a system,” Rita says, talking about the success her league has had in the past.\u003c/p>\n\u003cp>She took a few dribbles and continued, “People hit us up all the time: when are you going to do this in Vallejo? When are you going to do this in San Rafael?”\u003c/p>\n\u003cp>She sees the need, and isn’t bashful about taking her idea of institutionalizing support for women’s basketball on all levels.\u003c/p>\n\u003cp>“Just imagine, I mean, just remember I said it here first: who said Oakland can’t have the WNBA? The Oakland fans would love it. It could bring back all of the Oakland fans who haven’t seen a basketball game in years because of being priced out.”\u003c/p>\n\u003cp>Yeah, that would be tight. I can imagine Oakland showing up to watch hoops again at the arena, to hear Kehlani sing the National Anthem and enjoy Kamaiyah performing at the halftime show. I can see Congresswoman Barbara Lee and Oakland’s Mayor Libby Schaaf sitting courtside like Spike Lee and Jay-Z do at NBA games.\u003c/p>\n\u003cp>But I can also see that the WNBA has been overshadowed this summer by news of NBA free agents signing contracts, summer league highlights and Ice Cube’s Big3 league. Pro women hoopers don’t even get the respect they deserve.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So I see why Rita’s efforts to get support haven’t won… yet.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">R\u003c/span>ita Forte simply wants funding for a recreational basketball league for women.\u003c/p>\n\u003cp>I’m talking about 5-on-5, 12-minute games, for a block of two hours, once a week. Seems easy enough, right?\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>You’d especially think people would be behind the idea after the U.S. women’s national soccer team captured the World Cup for the fourth time, raising visibility for women’s sports and obviating the need for equal pay (highlighted by pieces such as this financial comparison between professional soccer-playing men and women, published by \u003ca href=\"https://www.forbes.com/sites/tomspiggle/2019/07/19/what-the-u-s-womens-soccer-controversy-says-about-equal-pay/#3faa05866b50\" target=\"_blank\" rel=\"noopener noreferrer\">Forbes\u003c/a>).\u003c/p>\n\u003cp>Well, after shooting hoops with Forte, I see how it’s not that simple. Convincing folks to put a couple thousand dollars behind a women’s pickup league seems to be a bit lower on the totem pole of common concerns in this current climate. I mean, have you seen the news lately?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>President Trump’s racist \u003ca href=\"https://twitter.com/realDonaldTrump/status/1150381395078000643\" target=\"_blank\" rel=\"noopener noreferrer\">tweets\u003c/a> toward four Democratic congresswomen—representatives Ayanna S. Pressley, Rashida Tlaib, Alexandria Ocasio-Cortez and Ilhan Omar—is up there with some of the wildest rhetoric I’ve ever heard from an elected official. And then you’ve got old heads in the rap game making blatantly erroneous comments, like \u003ca href=\"https://www.youtube.com/watch?v=6VplqglPYGU\" target=\"_blank\" rel=\"noopener noreferrer\">Jermaine Dupri\u003c/a> claiming that all female rappers rap about the same subjects and then trying to cover his ass by creating some \u003ca href=\"https://twitter.com/jermainedupri/status/1149775719750238209?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149775719750238209&ref_url=https%3A%2F%2Fthegrio.com%2F2019%2F07%2F15%2Fjermaine-dupri-women-rap-backlash-response%2F\" target=\"_blank\" rel=\"noopener noreferrer\">So So Def Female Cypher\u003c/a> thingy. Clearly pandering.\u003c/p>\n\u003cp>And that’s just a couple outrageous headlines from this month. But there’s a common thread that ties together these issues, from unequal pay to unequal resources. It’s a matter of unequal respect… even here in the Bay Area.\u003c/p>\n\u003cfigure id=\"attachment_13861745\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861745\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/0-1-1-800x533.jpg\" alt=\"The Women's All-Ball squad!\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-1-1.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Women’s All B-Ball squad. Photo by Kim Woozy. \u003ccite>(Rita Forte)\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\">R\u003c/span>ita and I met up recently at Strawberry Creek Park in West Berkeley, shot some hoops and talked.\u003c/p>\n\u003cp>The ball was slightly overinflated, the rim was bouncy, and I made more excuses than buckets as I tried to clear my jump shot of cobwebs. Meanwhile, Rita worked on her footwork in the key and knocked down some mid-range jumpers while explaining the women’s hoops landscape, and how it ties into a larger story of women in America.\u003c/p>\n\u003cp>“There’s not enough opportunities for women to come on the basketball court and expect there to be other women out there playing,” Rita said as she dribbled and shot.\u003c/p>\n\u003cp>I grabbed the ball as it went through the net and tossed Rita her change, as she continued. “When you walk by the park, and you don’t see [groups of women], that means we have to organize. It doesn’t mean that we don’t want to play—because I was there. I wanted to play after high school and college, and there were others like me. But we had to organize.”\u003c/p>\n\u003cp>Rita, an Oakland native, says she came up playing ball, but a horrible knee injury in high school derailed her pro hoop dreams. Even still, she attended Williams College on a track scholarship, and along the way fell in love with DJing—that’s how I met her, on the ones and twos during the hyphy movement.\u003c/p>\n\u003cp>It was around that same time, back in 2003, when she was looking for pickup games but couldn’t find any. The seed was planted, and some years later, she teamed up with Amanda Lesky and started \u003ca href=\"https://www.facebook.com/WomensAllBBall/\" target=\"_blank\" rel=\"noopener noreferrer\">Women’s All B-Ball\u003c/a>. Over the past five years, they’ve run the league mostly out of pocket, with additional support from players and local businesses, including donated balls from Decathlon in Emeryville.\u003c/p>\n\u003cp>Their efforts have sometimes been scrappy, playing in gyms with unfavorable conditions or on courts where someone involved in the game is also an employee at the facility, allowing them access.\u003c/p>\n\u003cp>“From about 2015-2016, we played at Berkeley Youth Alternatives. And one of the players used to work there,” Rita said. “The ceilings are low and it’s shorter than the regular court.”\u003c/p>\n\u003cp>But that’s where they had their best turnout. At one point, Rita says, they had about 40 women show up for the three-hour hoop sessions, despite playing in a lackluster gym.\u003c/p>\n\u003cp>Now, Rita and her cohorts have turned to \u003ca href=\"https://ifundwomen.com/projects/womens-basketball-for-all\" target=\"_blank\" rel=\"noopener noreferrer\">crowdfunding, via Ifundwomen.com\u003c/a>. The campaign has run about a month, but they’ve currently met just over 12% of their $15,000 fundraising goal with about a week left in the campaign.\u003c/p>\n\u003cp>“You can’t do a tournament for free,” explained Rita, as I practiced my crossover and pulled up for a shot. “You have to pay for food, referees, jerseys—we give trophies and cash prizes too,” Rita said, grabbing a rebound off my missed shot. She told me these hoopers are in their 20s and 30s, “but we want to do something for them.”\u003c/p>\n\u003cp>And it’s not just about the money, it’s about the resources, like access to gyms. Last week, Rita and I tried to meet at a YMCA in San Francisco during a scheduled women’s game, but it was canceled hours before tipoff. Rita also invited me to an Oakland Rise game, a local women’s semi-pro team. But it would’ve been hard for me to get to their home court, which is way out in Concord.\u003c/p>\n\u003cp>There are a few other pick-up leagues around the Bay Area, like \u003ca href=\"https://www.instagram.com/pickherupball/\" target=\"_blank\" rel=\"noopener noreferrer\">Pick Her Up Ball\u003c/a> at Head-Royce—but even their founder got some inspiration from Women’s All B-Ball. I wouldn’t have even known about the Head-Royce gym if it weren’t for my experience playing hoops for a rival college prep school here in the Bay Area. It turns out that Rita also went to a college prep school through the same program I did, A Better Chance, which takes kids out of the hood and puts them in private school settings.\u003c/p>\n\u003cp>Rita attended an all-girls boarding school in Southern California, and because there was a neighboring all-boys school, teenaged Rita got to compare and contrast the different institutions. She saw that with equal resources, there’s equal performance from all parties.\u003c/p>\n\u003cp>Damn, imagine a world in which everyone had equal access to resources… I… I actually can’t even imagine it.\u003c/p>\n\u003cfigure id=\"attachment_13861746\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/0-2-800x600.jpg\" alt=\"A few participants of the Women's All B-Ball League\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/0-2.jpg 1979w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A few participants of the Women’s All B-Ball League. Photo by Kim Woozy \u003ccite>(Rita Forte)\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\">B\u003c/span>ut that’s where Rita’s head is. She long ago threw her hoop shoes over the proverbial power line, and retired her dreams of balling in the big leagues, and now she gets her competitive edge off by organizing to fill voids in society.\u003c/p>\n\u003cp>“Ya’ll have the gyms, we have the formula, we can create a system,” Rita says, talking about the success her league has had in the past.\u003c/p>\n\u003cp>She took a few dribbles and continued, “People hit us up all the time: when are you going to do this in Vallejo? When are you going to do this in San Rafael?”\u003c/p>\n\u003cp>She sees the need, and isn’t bashful about taking her idea of institutionalizing support for women’s basketball on all levels.\u003c/p>\n\u003cp>“Just imagine, I mean, just remember I said it here first: who said Oakland can’t have the WNBA? The Oakland fans would love it. It could bring back all of the Oakland fans who haven’t seen a basketball game in years because of being priced out.”\u003c/p>\n\u003cp>Yeah, that would be tight. I can imagine Oakland showing up to watch hoops again at the arena, to hear Kehlani sing the National Anthem and enjoy Kamaiyah performing at the halftime show. I can see Congresswoman Barbara Lee and Oakland’s Mayor Libby Schaaf sitting courtside like Spike Lee and Jay-Z do at NBA games.\u003c/p>\n\u003cp>But I can also see that the WNBA has been overshadowed this summer by news of NBA free agents signing contracts, summer league highlights and Ice Cube’s Big3 league. Pro women hoopers don’t even get the respect they deserve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So I see why Rita’s efforts to get support haven’t won… yet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over on Foothill Boulevard in East Oakland, right next to Cesar Chavez park, there’s a small restaurant called La Casita. On the gate to an adjacent alleyway, there’s a painting that reads “\u003ca href=\"https://twitter.com/OGpenn/status/1136415321961652224?s=20\" target=\"_blank\" rel=\"noopener\">Oakland Over Everything\u003c/a>“—the creed that \u003ca href=\"https://www.mujermuralista.com/\" target=\"_blank\" rel=\"noopener\">Mujer Muralista\u003c/a> lives by.\u003c/p>\n\u003cp>And even though Mujer Muralista (the \u003cem>nom de plume\u003c/em> of Laura Salazar) didn’t paint that particular image, she’s painted nearly every other inch of space in and around La Casita, including a new mural she was working on in the alley when I met up with her recently.\u003c/p>\n\u003cp>Her latest creation depicts freedom fighters, like Dr. Martin Luther King Jr. and Dolores Huerta, as well as images of young folks from Oakland—former students of Mujer Muralista. At the top of the painting are words “Oakland Is Proud,” an homage to \u003ca href=\"https://www.facebook.com/TDKCollective85/photos/a.199940036862223/245580818964811/?type=1&theater\" target=\"_blank\" rel=\"noopener\">the classic wall piece by Del Phresh\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13861786\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-800x535.jpg\" alt=\"Mujer Muralista admiring her work.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On a summer day that was so hot, we had to sit inside of La Casita with the lights off to trick ourselves into thinking it made the day cooler, Mujer Muralista sat in the back of the empty restaurant and discussed the origins of her name, the importance of community space, and how she uses art to take control of her changing hometown.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To hear this conversation, click the link above.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>From July 22–July 26, Mujer Muralista leads art workshops as a part of Mundos Musicales Summer Camp at La Peña Cultural Center in Berkeley. \u003ca href=\"https://www.instagram.com/p/Bz-_8qMhlze/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad=fullwidth]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over on Foothill Boulevard in East Oakland, right next to Cesar Chavez park, there’s a small restaurant called La Casita. On the gate to an adjacent alleyway, there’s a painting that reads “\u003ca href=\"https://twitter.com/OGpenn/status/1136415321961652224?s=20\" target=\"_blank\" rel=\"noopener\">Oakland Over Everything\u003c/a>“—the creed that \u003ca href=\"https://www.mujermuralista.com/\" target=\"_blank\" rel=\"noopener\">Mujer Muralista\u003c/a> lives by.\u003c/p>\n\u003cp>And even though Mujer Muralista (the \u003cem>nom de plume\u003c/em> of Laura Salazar) didn’t paint that particular image, she’s painted nearly every other inch of space in and around La Casita, including a new mural she was working on in the alley when I met up with her recently.\u003c/p>\n\u003cp>Her latest creation depicts freedom fighters, like Dr. Martin Luther King Jr. and Dolores Huerta, as well as images of young folks from Oakland—former students of Mujer Muralista. At the top of the painting are words “Oakland Is Proud,” an homage to \u003ca href=\"https://www.facebook.com/TDKCollective85/photos/a.199940036862223/245580818964811/?type=1&theater\" target=\"_blank\" rel=\"noopener\">the classic wall piece by Del Phresh\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13861786\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-800x535.jpg\" alt=\"Mujer Muralista admiring her work.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/LRG__DSC5677.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>On a summer day that was so hot, we had to sit inside of La Casita with the lights off to trick ourselves into thinking it made the day cooler, Mujer Muralista sat in the back of the empty restaurant and discussed the origins of her name, the importance of community space, and how she uses art to take control of her changing hometown.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To hear this conversation, click the link above.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>From July 22–July 26, Mujer Muralista leads art workshops as a part of Mundos Musicales Summer Camp at La Peña Cultural Center in Berkeley. \u003ca href=\"https://www.instagram.com/p/Bz-_8qMhlze/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Mike Nicholls is the founder of \u003ca href=\"https://www.umbermagazine.net/\">\u003cem>Umber\u003c/em>\u003c/a> magazine, and my conversation with him covered much more than we can fit into this show: it went from Porky Pig being an inspiration to stuttering kids to the fact that there’s an “Oakland” font. My mind was blown.\u003c/p>\n\u003cp>But the central focus of our conversation was \u003cem>Umber\u003c/em>. Nicholls’ Oakland-based publication toes the line between magazine and coffee table book: you can only find it in print, it’s printed with intention entirely in black and brown ink, and its features on artists of color from around the nation can’t be found anywhere online. \u003c/p>\n\u003cp>Each issue of \u003cem>Umber\u003c/em> has a theme. For the magazine’s third issue, released just a few weeks ago, that theme is Sound. \u003ca href=\"https://thisismikenicholls.com/\">Nicholls\u003c/a>, who grew up with an intense stutter, says he’s always found it easier to express himself through written word—hence his passion for graffiti and typography. But he’s always been interested in digging into sound, especially as a method for overcoming stuttering.\u003c/p>\n\u003cp>The current issue’s pages cover the likes of East Bay drummer \u003ca href=\"https://www.instagram.com/badassthomaspridgen/?hl=en\">Thomas Pridgen\u003c/a>, and a very talented vocalist named \u003ca href=\"https://www.yasmeena.me/\">Yasmeena\u003c/a>. And Nicholls himself opens up in the magazine’s pages to write about overcoming stuttering. As Mike told me, “It’s like there’s a million words in my head, and I just want one!” He laughed, and continued by saying, “You know, I don’t stutter when I’m by myself.”\u003c/p>\n\u003cp>A release party for the latest issue of \u003cem>Umber\u003c/em> gets underway Monday, July 19, at Bandcamp in Oakland. The show runs from 6pm-9pm and features live performances from Mani Draper, Nina Sol and Yasmeena. \u003ca href=\"https://www.eventbrite.com/e/umbers-the-sound-issue-release-party-at-bandcamp-tickets-63282958031?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=escb&utm-source=cp&utm-term=listing\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Click on the audio link above hear the full story.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mike Nicholls is the founder of \u003ca href=\"https://www.umbermagazine.net/\">\u003cem>Umber\u003c/em>\u003c/a> magazine, and my conversation with him covered much more than we can fit into this show: it went from Porky Pig being an inspiration to stuttering kids to the fact that there’s an “Oakland” font. My mind was blown.\u003c/p>\n\u003cp>But the central focus of our conversation was \u003cem>Umber\u003c/em>. Nicholls’ Oakland-based publication toes the line between magazine and coffee table book: you can only find it in print, it’s printed with intention entirely in black and brown ink, and its features on artists of color from around the nation can’t be found anywhere online. \u003c/p>\n\u003cp>Each issue of \u003cem>Umber\u003c/em> has a theme. For the magazine’s third issue, released just a few weeks ago, that theme is Sound. \u003ca href=\"https://thisismikenicholls.com/\">Nicholls\u003c/a>, who grew up with an intense stutter, says he’s always found it easier to express himself through written word—hence his passion for graffiti and typography. But he’s always been interested in digging into sound, especially as a method for overcoming stuttering.\u003c/p>\n\u003cp>The current issue’s pages cover the likes of East Bay drummer \u003ca href=\"https://www.instagram.com/badassthomaspridgen/?hl=en\">Thomas Pridgen\u003c/a>, and a very talented vocalist named \u003ca href=\"https://www.yasmeena.me/\">Yasmeena\u003c/a>. And Nicholls himself opens up in the magazine’s pages to write about overcoming stuttering. As Mike told me, “It’s like there’s a million words in my head, and I just want one!” He laughed, and continued by saying, “You know, I don’t stutter when I’m by myself.”\u003c/p>\n\u003cp>A release party for the latest issue of \u003cem>Umber\u003c/em> gets underway Monday, July 19, at Bandcamp in Oakland. The show runs from 6pm-9pm and features live performances from Mani Draper, Nina Sol and Yasmeena. \u003ca href=\"https://www.eventbrite.com/e/umbers-the-sound-issue-release-party-at-bandcamp-tickets-63282958031?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=escb&utm-source=cp&utm-term=listing\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Every once in a while, we discover a KQED connection that blows our minds. The famous \u003ca href=\"https://www.youtube.com/watch?v=OMp8x4SYREI\" rel=\"noopener\" target=\"_blank\">awkward Bob Dylan press conference from \u003cem>Don’t Look Back\u003c/em>\u003c/a>? That was filmed by KQED’s cameras. Pink Floyd’s \u003ca href=\"https://www.kqed.org/arts/12191567/pink-floyd-kqed-1970\" rel=\"noopener\" target=\"_blank\">widely bootlegged 1970 session\u003c/a>? Also filmed by KQED.\u003c/p>\n\u003cp>In 1974, a producer from KQED named \u003ca href=\"https://www.sfchronicle.com/news/article/Jim-Newman-seeking-the-new-in-art-and-music-for-12476573.php\" rel=\"noopener\" target=\"_blank\">Jim Newman\u003c/a> spent time on the streets of Oakland following around a jazz musician who believed he was from Saturn. The result, \u003cem>Sun Ra: Space is the Place\u003c/em>, is an afrofuturist classic and a touchstone of the jazz giant’s career. The ideas put forth about a utopia for black people in outer space are ahead of their time, the music is a hybrid of big-band tradition and propulsive avant-garde discovery—and of course, the outfits are incredible.\u003c/p>\n\u003cp>Sun Ra himself left the planet in 1993. But this week, the Sun Ra Arkestra led by longtime saxophonist Marshall Allen performs live along with a screening of \u003cem>Sun Ra: Space is the Place\u003c/em> at the SFJAZZ Center in San Francisco. That’s on July 18 and 20. After two nights with the film, the floor seats are removed for a dance party with the Arkestra on July 20 and 21.\u003c/p>\n\u003cp>No matter how you experience this music, you won’t be the same afterward.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every once in a while, we discover a KQED connection that blows our minds. The famous \u003ca href=\"https://www.youtube.com/watch?v=OMp8x4SYREI\" rel=\"noopener\" target=\"_blank\">awkward Bob Dylan press conference from \u003cem>Don’t Look Back\u003c/em>\u003c/a>? That was filmed by KQED’s cameras. Pink Floyd’s \u003ca href=\"https://www.kqed.org/arts/12191567/pink-floyd-kqed-1970\" rel=\"noopener\" target=\"_blank\">widely bootlegged 1970 session\u003c/a>? Also filmed by KQED.\u003c/p>\n\u003cp>In 1974, a producer from KQED named \u003ca href=\"https://www.sfchronicle.com/news/article/Jim-Newman-seeking-the-new-in-art-and-music-for-12476573.php\" rel=\"noopener\" target=\"_blank\">Jim Newman\u003c/a> spent time on the streets of Oakland following around a jazz musician who believed he was from Saturn. The result, \u003cem>Sun Ra: Space is the Place\u003c/em>, is an afrofuturist classic and a touchstone of the jazz giant’s career. The ideas put forth about a utopia for black people in outer space are ahead of their time, the music is a hybrid of big-band tradition and propulsive avant-garde discovery—and of course, the outfits are incredible.\u003c/p>\n\u003cp>Sun Ra himself left the planet in 1993. But this week, the Sun Ra Arkestra led by longtime saxophonist Marshall Allen performs live along with a screening of \u003cem>Sun Ra: Space is the Place\u003c/em> at the SFJAZZ Center in San Francisco. That’s on July 18 and 20. After two nights with the film, the floor seats are removed for a dance party with the Arkestra on July 20 and 21.\u003c/p>\n\u003cp>No matter how you experience this music, you won’t be the same afterward.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>At 14th and Alice Streets in downtown Oakland, the “Universal Language” mural traces the city’s black performing arts heritage. The late dancer Ruth Beckford, an influential promoter of Afro-Haitian styles, looms above performers with her mentee Deborah Vaughan’s Dimensions Dance Theater, which operates nearby at the \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>. The center’s namesake, Congolese artist and teacher Malonga Casquelourd, beats a drum at the center of another wall.\u003c/p>\n\u003cp>The arts are but one theme of the 2,500 square foot mural, which also references organized labor and grassroots activism in Oakland’s black and Asian neighborhoods. Lead artists Desi Mundo and Pancho Peskador worked with the nonprofit Community Rejuvenation Project to conduct research and community outreach for six months before beginning to paint—an undertaking significantly buoyed a $40,000 grant from the City of Oakland’s Cultural Funding Program.\u003c/p>\n\u003cp>Fewer than five years after its completion in 2014, though, the mural is disappearing behind a housing development on what was previously a parking lot. At the same time, the city program that supported the mural, plus many individual artists and Malonga tenants, recently had its grant-making budget reduced by 17 percent. “It’s criminal,” said Theo Aytchan Williams, director of Malonga tenant \u003ca href=\"https://sambafunk.com/\">SambaFunk\u003c/a>. “How can that happen while the city is beginning to prosper?”\u003c/p>\n\u003cfigure id=\"attachment_13861188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg\" alt=\""Universal Language," a mural depicting Oakland's black performing arts heritage, will soon be completely obscured.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Universal Language,” a mural depicting Oakland’s black performing arts heritage, will soon be completely obscured. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artists and activists have long agitated for boosting the Cultural Funding Program’s budget and infrastructure, holding it up as an important front in the fight against displacement. The grant-making operation rates applicants with an equity lens, supporting work that lifts up communities at risk of cultural erasure as the affordability crisis reshapes the city. “The roster of those top-ranked organizations is the backbone of the Oakland arts community,” said Mundo.\u003c/p>\n\u003cp>In 2018, the Cultural Funding Program supported individual artist projects such as murals, performance series and documentaries; art-in-schools programs run by nonprofits including Destiny Arts Center and Women’s Audio Mission; and general operating subsidies for Creative Growth Art Center, Eastside Arts Alliance and the Oakland Ballet, among other institutions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In some ways, the program has lately grown: Roberto Bedoya became the first Cultural Affairs Director in 2016, announcing an agenda of redressing historical injustice in the Cultural Plan last year. He also secured funding for a staffer to help reestablish an Art Commission; Oakland City Council approved related legislation Tuesday. And soon Bedoya will announce the first “cultural strategists in government”—artists embedded as “thought partners” in city departments.\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg\" alt=\"Another panel of "Universal Language," showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel of “Universal Language,” showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13840996/oakland-introduces-expanded-art-grants-program-announces-2018-awardees\">previously reported\u003c/a>, Oakland Mayor Libby Schaaf has described Bedoya’s initiatives as part of the Cultural Affairs Unit’s rebound from the “devastating cuts of the recession,” but the budget City Council approved last month leaves his agency with more plans and less money: The annual grants budget is approximately 1,030,000, comprised of $730,000 from the general purpose fund and an anticipated $300,000 from hotel tax revenue, compared to $1,243,120 earmarked in 2017.\u003c/p>\n\u003cp>“Organizational support and arts in schools are the cornerstones of the creation of a future for the arts in our beloved city, and given the rapid, dizzying gentrification we’re experiencing it’s fundamental that you remove not one dollar from our cultural funding program,” said Angela Wellman, director of the Oakland Public Conservatory of Music, at the June 24 meeting.\u003c/p>\n\u003cp>The councilmembers included a policy directive in their budget urging city staff to “identify ways to restore and make permanent additional funding for cultural affairs” by May of next year.\u003c/p>\n\u003cp>According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is nearly half of what was in 2001, and in recent years the number of applications has dramatically increased. This year, according to Bedoya, there were 25 percent more grant applicants than in 2018. “People are asking for support,” he said. “We’re still hoping the budget will increase along with the need.”\u003c/p>\n\u003cfigure id=\"attachment_13861183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg\" alt=\"The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mundo, head of the Community Rejuvenation Project, believes declining grant dollars reflects the “privatization of public artwork.” In downtown Oakland, there are more murals than ever; housing developers tout them as amenities, and sports teams sponsor them for promotion in the guise of grassroots fandom. Instead of the deeply-researched “Universal Language” mural, Mundo said, public artwork is increasingly advertisements or corporate commissions.\u003c/p>\n\u003cp>Mundo noted the bureaucracy of the Cultural Funding Program is its own frustration: Artists shouldn’t have to also be lobbyists and nonprofit administrators. Still, he called it a reliable supporter of projects with a point of view and rich cultural texture. The CFP’s support of “Universal Language,” for example, offset the cost of a Cantonese translator to interview neighbors, and to study performances to capture dancers’ expressive gestures on the wall.\u003c/p>\n\u003cp>“Universal Language” also depicts artists at a City Council meeting in 2003 to protest then-Mayor Jerry Brown’s attempt to shutter the Malonga Casquelourd Center for the Arts (then the Alice Arts Center)—content that isn’t likely to appear in public artwork sponsored by the city’s tourism bureau, Visit Oakland. “But now we’re moving towards a patronage system,” Mundo said. “Less cultural stories, less of the struggle, more of the commercial and abstract.”\u003c/p>\n\u003cfigure id=\"attachment_13861182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg\" alt=\"A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget passed last month does include a $100,000 “community murals” fund, but it mostly continues a preexisting “graffiti abatement” fund by another name. Mundo’s organization tracked the abatement dollars, finding some councilmembers didn’t use them for public artwork at all. “It’s really a slush fund,” he said. “They’re almost appropriating money from cultural funding.”\u003c/p>\n\u003cp>Bedoya acknowledged the new fund is similarly aimed at deterring graffiti, but said his department will more closely oversee councilmembers’ projects. And Councilmember Dan Kalb said at the June 24 meeting that he welcomes the greater involvement from Bedoya’s department. “It’s better government to do this through cultural affairs,” Kalb said.\u003c/p>\n\u003cp>Also new in the city’s budget is $75,000 for signage and “capacity building” in the Black Arts Movement Business District, which Oakland established downtown in 2016. Ayodele Nzinga, founding director of Lower Bottom Playaz, said it’s the first time the city has funded the district at all. “The point is they created a district three years ago without so much as a plan or budget for a banner,” she said, adding that district stakeholders will use the money to seek private grants.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014. ' width=\"300\" height=\"199\" class=\"size-medium wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as the “Universal Language” mural shows what Oakland stands to lose by reducing its investment in the arts, it also illustrates the power of cultural groups united by a common grievance. In 2016, when the project set to block “Universal Language” was first approved, the mural’s creators joined with neighborhood activists and Malonga tenants to appeal the development, citing concerns that it would further destabilize the scrappy cultural center.\u003c/p>\n\u003cp>They won a community benefits agreement—and modeled a negotiating tactic \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently used\u003c/a> by critics of Orton Development’s plan to renovate the Henry J. Kaiser Convention Center—that required the developer to donate money to the Malonga, and also to help pay for a replacement mural nearby. Eric Arnold, who helped negotiate the deal, said the replacement mural will deal with similar themes, and that it will be on the wall of the Greenlining Institute two blocks away.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To Arnold, the way the mural’s removal spurred a powerful coalition of arts and neighborhood groups is a heartening example of frustrated community members taking matters into their own hands. “Whatever you think is against you, developers, city hall—there’s a way to change the narrative,” he said. The new mural, he added, might incorporate the tale of the old one.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 14th and Alice Streets in downtown Oakland, the “Universal Language” mural traces the city’s black performing arts heritage. The late dancer Ruth Beckford, an influential promoter of Afro-Haitian styles, looms above performers with her mentee Deborah Vaughan’s Dimensions Dance Theater, which operates nearby at the \u003ca href=\"http://mccatheater.com/\">Malonga Casquelourd Center for the Arts\u003c/a>. The center’s namesake, Congolese artist and teacher Malonga Casquelourd, beats a drum at the center of another wall.\u003c/p>\n\u003cp>The arts are but one theme of the 2,500 square foot mural, which also references organized labor and grassroots activism in Oakland’s black and Asian neighborhoods. Lead artists Desi Mundo and Pancho Peskador worked with the nonprofit Community Rejuvenation Project to conduct research and community outreach for six months before beginning to paint—an undertaking significantly buoyed a $40,000 grant from the City of Oakland’s Cultural Funding Program.\u003c/p>\n\u003cp>Fewer than five years after its completion in 2014, though, the mural is disappearing behind a housing development on what was previously a parking lot. At the same time, the city program that supported the mural, plus many individual artists and Malonga tenants, recently had its grant-making budget reduced by 17 percent. “It’s criminal,” said Theo Aytchan Williams, director of Malonga tenant \u003ca href=\"https://sambafunk.com/\">SambaFunk\u003c/a>. “How can that happen while the city is beginning to prosper?”\u003c/p>\n\u003cfigure id=\"attachment_13861188\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861188\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg\" alt=\""Universal Language," a mural depicting Oakland's black performing arts heritage, will soon be completely obscured.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Universal Language,” a mural depicting Oakland’s black performing arts heritage, will soon be completely obscured. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland artists and activists have long agitated for boosting the Cultural Funding Program’s budget and infrastructure, holding it up as an important front in the fight against displacement. The grant-making operation rates applicants with an equity lens, supporting work that lifts up communities at risk of cultural erasure as the affordability crisis reshapes the city. “The roster of those top-ranked organizations is the backbone of the Oakland arts community,” said Mundo.\u003c/p>\n\u003cp>In 2018, the Cultural Funding Program supported individual artist projects such as murals, performance series and documentaries; art-in-schools programs run by nonprofits including Destiny Arts Center and Women’s Audio Mission; and general operating subsidies for Creative Growth Art Center, Eastside Arts Alliance and the Oakland Ballet, among other institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In some ways, the program has lately grown: Roberto Bedoya became the first Cultural Affairs Director in 2016, announcing an agenda of redressing historical injustice in the Cultural Plan last year. He also secured funding for a staffer to help reestablish an Art Commission; Oakland City Council approved related legislation Tuesday. And soon Bedoya will announce the first “cultural strategists in government”—artists embedded as “thought partners” in city departments.\u003c/p>\n\u003cfigure id=\"attachment_13861187\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861187\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg\" alt=\"Another panel of "Universal Language," showing the Congolese artist Malonga Casquelourd, in front of Oakland's changing skyline.\" width=\"800\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-800x481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-768x462.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1020x614.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development-1200x722.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Universal-Language-Mural-Obscured-by-Development.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Another panel of “Universal Language,” showing the Congolese artist Malonga Casquelourd, in front of Oakland’s changing skyline. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13840996/oakland-introduces-expanded-art-grants-program-announces-2018-awardees\">previously reported\u003c/a>, Oakland Mayor Libby Schaaf has described Bedoya’s initiatives as part of the Cultural Affairs Unit’s rebound from the “devastating cuts of the recession,” but the budget City Council approved last month leaves his agency with more plans and less money: The annual grants budget is approximately 1,030,000, comprised of $730,000 from the general purpose fund and an anticipated $300,000 from hotel tax revenue, compared to $1,243,120 earmarked in 2017.\u003c/p>\n\u003cp>“Organizational support and arts in schools are the cornerstones of the creation of a future for the arts in our beloved city, and given the rapid, dizzying gentrification we’re experiencing it’s fundamental that you remove not one dollar from our cultural funding program,” said Angela Wellman, director of the Oakland Public Conservatory of Music, at the June 24 meeting.\u003c/p>\n\u003cp>The councilmembers included a policy directive in their budget urging city staff to “identify ways to restore and make permanent additional funding for cultural affairs” by May of next year.\u003c/p>\n\u003cp>According to the Cultural Plan, Oakland’s inflation-adjusted grant-making budget is nearly half of what was in 2001, and in recent years the number of applications has dramatically increased. This year, according to Bedoya, there were 25 percent more grant applicants than in 2018. “People are asking for support,” he said. “We’re still hoping the budget will increase along with the need.”\u003c/p>\n\u003cfigure id=\"attachment_13861183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg\" alt=\"The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Malonga-Casquelourd-Center-for-the-Arts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Cultural Funding Program supports many tenants of the city-owned Malonga Casquelourd Center for the Arts. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Mundo, head of the Community Rejuvenation Project, believes declining grant dollars reflects the “privatization of public artwork.” In downtown Oakland, there are more murals than ever; housing developers tout them as amenities, and sports teams sponsor them for promotion in the guise of grassroots fandom. Instead of the deeply-researched “Universal Language” mural, Mundo said, public artwork is increasingly advertisements or corporate commissions.\u003c/p>\n\u003cp>Mundo noted the bureaucracy of the Cultural Funding Program is its own frustration: Artists shouldn’t have to also be lobbyists and nonprofit administrators. Still, he called it a reliable supporter of projects with a point of view and rich cultural texture. The CFP’s support of “Universal Language,” for example, offset the cost of a Cantonese translator to interview neighbors, and to study performances to capture dancers’ expressive gestures on the wall.\u003c/p>\n\u003cp>“Universal Language” also depicts artists at a City Council meeting in 2003 to protest then-Mayor Jerry Brown’s attempt to shutter the Malonga Casquelourd Center for the Arts (then the Alice Arts Center)—content that isn’t likely to appear in public artwork sponsored by the city’s tourism bureau, Visit Oakland. “But now we’re moving towards a patronage system,” Mundo said. “Less cultural stories, less of the struggle, more of the commercial and abstract.”\u003c/p>\n\u003cfigure id=\"attachment_13861182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13861182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg\" alt=\"A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/CRP-Mural-on-Grand-Showing-Garvey-Community-Rejuvenation-Project.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Community Rejuvenation Project on Grand Ave in Oakland depicts the Pan-Africanist Marcus Garvey. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The budget passed last month does include a $100,000 “community murals” fund, but it mostly continues a preexisting “graffiti abatement” fund by another name. Mundo’s organization tracked the abatement dollars, finding some councilmembers didn’t use them for public artwork at all. “It’s really a slush fund,” he said. “They’re almost appropriating money from cultural funding.”\u003c/p>\n\u003cp>Bedoya acknowledged the new fund is similarly aimed at deterring graffiti, but said his department will more closely oversee councilmembers’ projects. And Councilmember Dan Kalb said at the June 24 meeting that he welcomes the greater involvement from Bedoya’s department. “It’s better government to do this through cultural affairs,” Kalb said.\u003c/p>\n\u003cp>Also new in the city’s budget is $75,000 for signage and “capacity building” in the Black Arts Movement Business District, which Oakland established downtown in 2016. Ayodele Nzinga, founding director of Lower Bottom Playaz, said it’s the first time the city has funded the district at all. “The point is they created a district three years ago without so much as a plan or budget for a banner,” she said, adding that district stakeholders will use the money to seek private grants.\u003c/p>\n\u003cfigure id=\"attachment_10139725\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg\" alt='The \"Universal Language\" mural on Alice Street in downtown Oakland in 2014. ' width=\"300\" height=\"199\" class=\"size-medium wp-image-10139725\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-300x199.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/Mural-Wide.jpg 800w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">The “Universal Language” mural on Alice Street in downtown Oakland in 2014. \u003ccite>(Courtesy Community Rejuvenation Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as the “Universal Language” mural shows what Oakland stands to lose by reducing its investment in the arts, it also illustrates the power of cultural groups united by a common grievance. In 2016, when the project set to block “Universal Language” was first approved, the mural’s creators joined with neighborhood activists and Malonga tenants to appeal the development, citing concerns that it would further destabilize the scrappy cultural center.\u003c/p>\n\u003cp>They won a community benefits agreement—and modeled a negotiating tactic \u003ca href=\"https://www.kqed.org/arts/13861121/kaiser-auditorium-redevelopment-proceeds-with-permanent-affordability-for-arts-groups\">recently used\u003c/a> by critics of Orton Development’s plan to renovate the Henry J. Kaiser Convention Center—that required the developer to donate money to the Malonga, and also to help pay for a replacement mural nearby. Eric Arnold, who helped negotiate the deal, said the replacement mural will deal with similar themes, and that it will be on the wall of the Greenlining Institute two blocks away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To Arnold, the way the mural’s removal spurred a powerful coalition of arts and neighborhood groups is a heartening example of frustrated community members taking matters into their own hands. “Whatever you think is against you, developers, city hall—there’s a way to change the narrative,” he said. The new mural, he added, might incorporate the tale of the old one.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kaiser Auditorium Redevelopment Proceeds With ‘Permanent Affordability’ for Arts Groups",
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"content": "\u003cp>\u003cem>Updated Thursday, 12:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Well past midnight in Oakland City Hall, the revival of a long-dormant landmark came one step closer to reality.\u003c/p>\n\u003cp>In the 11th hour of a meeting that started Tuesday afternoon, Oakland City Council cleared the way for Orton Development to renovate and run the Henry J. Kaiser Convention Center as a vast complex of office and performance space after the developer agreed to a raft of subsidies and benefits for nonprofit and arts groups.\u003c/p>\n\u003cp>A coalition of arts and neighborhood groups had formally appealed the project on the grounds that it lacked sufficient commitments to affordability and accessibility. On Tuesday night, though, the coalition withdrew its challenge after striking an agreement providing what spokesperson Eric Arnold called “permanent affordability” for organizations struggling to remain in Oakland. [aside postID=arts_13859506,arts_13852472]\u003c/p>\n\u003cp>“Our arts and culture scene is under the imminent threat of displacement,” Arnold said. “This agreement doesn’t reverse the tide, but it does offer some mitigation for the foreseeable future.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 215,000-square-foot building, which Orton intends to rechristen the “Oakland Civic,” was completed in 1914 and for the rest of the 20th century provided an important gathering space beside Lake Merritt. But it’s been empty since 2006, a conspicuous monument to disinvestment. \u003c/p>\n\u003cp>Now, four years after Orton first won redevelopment rights, the $64.5 million project is expected to break ground early 2020. Oakland is contributing $3.1 million in grants and as much as $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas. \u003c/p>\n\u003cp>“We have found our conversations with the coalition very fruitful,” said Orton project manager David Dial. “We look forward to partnering with them as we develop a cultural equity framework for access and find ways to provide additional community benefits through the life of the project.”\u003c/p>\n\u003cp>Orton plans to convert the Kaiser’s cavernous arena into offices, restore the Calvin Simmons Theater as a 1,500-seat performance venue, and provide smaller ballrooms for flexible uses. Part of the idea is to centralize administration, rehearsal and performance for arts outfits including the Oakland Symphony and Oakland Ballet, which currently lack consistent facilities.\u003c/p>\n\u003cp>Graham Lustig, artistic director of the Oakland Ballet, said at the meeting that he’s excited by the potential for collaboration between tenants of the building, which years ago housed the ballet and symphony. He also said the ballet’s rent has increased sixfold in the past four years. \u003c/p>\n\u003cp>The community-benefits agreement, which Councilmember Nikki Fortunato-Bas attached to Orton’s lease, includes subsidies for struggling organizations, particularly in the nearby Chinatown, Eastlake and downtown neighborhoods; various onetime and ongoing payments; and a community oversight structure that empowers members of the appellant coalition. \u003c/p>\n\u003cfigure id=\"attachment_13852543\" 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/k1-800x449.jpg\" alt=\"A rendering of Orton Development's proposed north facade of the rechristened "Oakland Civic."\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13852543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1.jpg 1182w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Orton Development’s proposed north facade of the rechristened “Oakland Civic.” \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bas, who mediated the appellant coalition’s intense negotiations with Orton in recent weeks, called the deal equitable, accessible and inclusive in a statement. “The Oakland-based artists and people of color living around the project should not have to be afraid of this development, on public land, perpetuating the record rates of displacement happening in Oakland,” she said. \u003c/p>\n\u003cp>Orton must offer up to 10,000 square feet of office space at between $2.00-$2.80 per square foot to what the agreement calls “equity targets,” broadly meaning small area nonprofits, as well as theater and ballroom usage to the qualifying organizations at the “lowest published” rates. Orton will also maintain an $80,000 endowment, replenished annually with operating revenue, to further offset those groups’ production costs incurred by programming. \u003c/p>\n\u003cp>Because these terms are for the duration of a lease of up to 99 years, Arnold described the agreement as a form of commercial rent control that reflects cultural stabilization strategies recommended by Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force. \u003c/p>\n\u003cfigure id=\"attachment_13859575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg\" alt=\"Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13859575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To ensure community access to the programmatic space, the agreement also establishes an elaborate oversight structure: Orton will create a nonprofit to manage the Calvin Simmons Theater and administer the endowment in collaboration with a community advisory board. The coalition will create a separate entity, Friends of the Calvin Simmons Theatre, to develop a community access program for educational institutions and recommend on-site artwork. \u003c/p>\n\u003cp>Orton is also required to give $100,000 to Friends of the Calvin Simmons Theatre and $75,000 to the coalition’s anti-displacement fund, which is administered by the East Bay Community Fund. The coalition will soon announce a grant application process for the anti-displacement fund, which was created to mitigate gentrification pressures on local businesses. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg\" alt='A city-sanctioned \"Tuff Shed\" homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland.' width=\"800\" height=\"479\" class=\"size-medium wp-image-13859580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1020x611.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1200x719.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A city-sanctioned “Tuff Shed” homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Community Coalition for Equitable Development includes neighborhood stakeholders such as the Black Arts Movement and Business District, Eastside Arts Alliance, Eastlake United for Justice, Asian Pacific Environmental Network and the Malonga Arts Residents Association. \u003c/p>\n\u003cp>Orton is also required by the agreement to make a donation to the Sogorea Te’ Land Trust, which works to return Chochenyo and Karkin Ohlone land to indigenous stewardship, and acknowledge the location of the building on Ohlone land through a plaque or announcement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13859506/no-public-benefit-arts-groups-challenge-kaiser-auditorium-redevelopment-plan\">previously reported\u003c/a>, the project has attracted criticism for the underlying public-private partnership model, which outsources a civic treasure to a for-profit entity, and from people who’d rather see the arena space restored for performances or more public-facing uses. The offices will serve hundreds of people in a space that for decades served thousands.\u003c/p>\n\n",
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"excerpt": "Oakland City Council approved Orton Development’s lease on the lakeside landmark after the developer finalized a last-minute community-benefits agreement.",
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"title": "Kaiser Auditorium Redevelopment Proceeds With ‘Permanent Affordability’ for Arts Groups | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Thursday, 12:30 p.m.\u003c/em>\u003c/p>\n\u003cp>Well past midnight in Oakland City Hall, the revival of a long-dormant landmark came one step closer to reality.\u003c/p>\n\u003cp>In the 11th hour of a meeting that started Tuesday afternoon, Oakland City Council cleared the way for Orton Development to renovate and run the Henry J. Kaiser Convention Center as a vast complex of office and performance space after the developer agreed to a raft of subsidies and benefits for nonprofit and arts groups.\u003c/p>\n\u003cp>A coalition of arts and neighborhood groups had formally appealed the project on the grounds that it lacked sufficient commitments to affordability and accessibility. On Tuesday night, though, the coalition withdrew its challenge after striking an agreement providing what spokesperson Eric Arnold called “permanent affordability” for organizations struggling to remain in Oakland. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our arts and culture scene is under the imminent threat of displacement,” Arnold said. “This agreement doesn’t reverse the tide, but it does offer some mitigation for the foreseeable future.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 215,000-square-foot building, which Orton intends to rechristen the “Oakland Civic,” was completed in 1914 and for the rest of the 20th century provided an important gathering space beside Lake Merritt. But it’s been empty since 2006, a conspicuous monument to disinvestment. \u003c/p>\n\u003cp>Now, four years after Orton first won redevelopment rights, the $64.5 million project is expected to break ground early 2020. Oakland is contributing $3.1 million in grants and as much as $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas. \u003c/p>\n\u003cp>“We have found our conversations with the coalition very fruitful,” said Orton project manager David Dial. “We look forward to partnering with them as we develop a cultural equity framework for access and find ways to provide additional community benefits through the life of the project.”\u003c/p>\n\u003cp>Orton plans to convert the Kaiser’s cavernous arena into offices, restore the Calvin Simmons Theater as a 1,500-seat performance venue, and provide smaller ballrooms for flexible uses. Part of the idea is to centralize administration, rehearsal and performance for arts outfits including the Oakland Symphony and Oakland Ballet, which currently lack consistent facilities.\u003c/p>\n\u003cp>Graham Lustig, artistic director of the Oakland Ballet, said at the meeting that he’s excited by the potential for collaboration between tenants of the building, which years ago housed the ballet and symphony. He also said the ballet’s rent has increased sixfold in the past four years. \u003c/p>\n\u003cp>The community-benefits agreement, which Councilmember Nikki Fortunato-Bas attached to Orton’s lease, includes subsidies for struggling organizations, particularly in the nearby Chinatown, Eastlake and downtown neighborhoods; various onetime and ongoing payments; and a community oversight structure that empowers members of the appellant coalition. \u003c/p>\n\u003cfigure id=\"attachment_13852543\" 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/k1-800x449.jpg\" alt=\"A rendering of Orton Development's proposed north facade of the rechristened "Oakland Civic."\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13852543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k1.jpg 1182w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rendering of Orton Development’s proposed north facade of the rechristened “Oakland Civic.” \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bas, who mediated the appellant coalition’s intense negotiations with Orton in recent weeks, called the deal equitable, accessible and inclusive in a statement. “The Oakland-based artists and people of color living around the project should not have to be afraid of this development, on public land, perpetuating the record rates of displacement happening in Oakland,” she said. \u003c/p>\n\u003cp>Orton must offer up to 10,000 square feet of office space at between $2.00-$2.80 per square foot to what the agreement calls “equity targets,” broadly meaning small area nonprofits, as well as theater and ballroom usage to the qualifying organizations at the “lowest published” rates. Orton will also maintain an $80,000 endowment, replenished annually with operating revenue, to further offset those groups’ production costs incurred by programming. \u003c/p>\n\u003cp>Because these terms are for the duration of a lease of up to 99 years, Arnold described the agreement as a form of commercial rent control that reflects cultural stabilization strategies recommended by Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force. \u003c/p>\n\u003cfigure id=\"attachment_13859575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg\" alt=\"Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space.\" width=\"800\" height=\"451\" class=\"size-medium wp-image-13859575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign-1200x677.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Calvin-Simmons-Theater-Sign.jpg 1914w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Orton Development plans to restore the Calvin Simmons Theater as a 1,500-seat performance space. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To ensure community access to the programmatic space, the agreement also establishes an elaborate oversight structure: Orton will create a nonprofit to manage the Calvin Simmons Theater and administer the endowment in collaboration with a community advisory board. The coalition will create a separate entity, Friends of the Calvin Simmons Theatre, to develop a community access program for educational institutions and recommend on-site artwork. \u003c/p>\n\u003cp>Orton is also required to give $100,000 to Friends of the Calvin Simmons Theatre and $75,000 to the coalition’s anti-displacement fund, which is administered by the East Bay Community Fund. The coalition will soon announce a grant application process for the anti-displacement fund, which was created to mitigate gentrification pressures on local businesses. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg\" alt='A city-sanctioned \"Tuff Shed\" homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland.' width=\"800\" height=\"479\" class=\"size-medium wp-image-13859580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-800x479.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-768x460.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1020x611.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment-1200x719.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-with-Tuff-Shed-Homeless-Encampment.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A city-sanctioned “Tuff Shed” homeless encampment occupies part of the Henry J. Kaiser Convention Center parking lot in Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Community Coalition for Equitable Development includes neighborhood stakeholders such as the Black Arts Movement and Business District, Eastside Arts Alliance, Eastlake United for Justice, Asian Pacific Environmental Network and the Malonga Arts Residents Association. \u003c/p>\n\u003cp>Orton is also required by the agreement to make a donation to the Sogorea Te’ Land Trust, which works to return Chochenyo and Karkin Ohlone land to indigenous stewardship, and acknowledge the location of the building on Ohlone land through a plaque or announcement. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As KQED \u003ca href=\"https://www.kqed.org/arts/13859506/no-public-benefit-arts-groups-challenge-kaiser-auditorium-redevelopment-plan\">previously reported\u003c/a>, the project has attracted criticism for the underlying public-private partnership model, which outsources a civic treasure to a for-profit entity, and from people who’d rather see the arena space restored for performances or more public-facing uses. The offices will serve hundreds of people in a space that for decades served thousands.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Fam 1st Family Foundation isn’t your usual nonprofit—it’s led by famed professional football players Marshawn Lynch, Marcus Peters and Josh Johnson. And this week, they’re throwing a week’s worth of events for kids and families.\u003c/p>\n\u003cp>I recently talked to the foundation’s Executive Director, Brije Gammage, who says that Fam 1st’s \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">Family Celebrity Week\u003c/a> has been going on for about a dozen years. After its inaugural year as a football camp and barbecue, it’s evolved to be much more. \u003c/p>\n\u003cp>But even with its growth and success, it hasn’t lost its purpose. “It’s about having a week of community coming together,” says Gammage. “And it’s also a chance to have the people who are a part of the foundation give back, and also bring out celebrities and players, and have them give something back.”\u003c/p>\n\u003cp>Looking at the schedule, it seems like the stars and the community will be aligned.\u003c/p>\n\u003cp>On Monday and Tuesday, July 8 and 9, the foundation gives away free tickets to Six Flags Hurricane Harbor in Concord for folks under 18. The passes can be claimed at the \u003ca href=\"https://www.beastmodeonline.com/pages/locations\" rel=\"noopener\" target=\"_blank\">Beast Mode store in downtown Oakland\u003c/a>, or at the front desk of the \u003ca href=\"http://www.westoaklandyouthcenter.org/\" rel=\"noopener\" target=\"_blank\">West Oakland Youth Center\u003c/a>. Tickets are good for admission to the park on Wednesday, July 10, and are limited to the first 2,000 kids to claim them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Tuesday, July 9, Los Angeles Rams star cornerback Marcus Peters hosts his 4th annual “It Take A Village” carnival at his alma mater, \u003ca href=\"https://www.ousd.org/mcclymonds\" rel=\"noopener\" target=\"_blank\">McClymonds High School\u003c/a> in West Oakland, from 2pm-8pm. There’ll be food, games and music; everything is free.\u003c/p>\n\u003cp>On Thursday, July 11, a talent show gets underway at \u003ca href=\"https://oaklandtech.com/staff/about/overview/\" rel=\"noopener\" target=\"_blank\">Oakland Tech\u003c/a> for ages 4-18. The event runs 5pm-9pm, and costs $5 to attend. This first-place winner of the talent show pockets $1,500, with second- and third-place cash prizes as well.\u003c/p>\n\u003cp>Friday night, July 12, is bowling night at \u003ca href=\"http://www.thealbanybowl.com/\" rel=\"noopener\" target=\"_blank\">Albany Bowl\u003c/a>. General tickets are $10–$35, with presale tickets available \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>On Saturday, July 13, a dance camp for youth runs from 8am–noon for youth ages 6-12, and 1pm–4pm for ages 13-18. The free event is held at the Oakland Raiders Headquarters at \u003ca href=\"https://www.google.com/maps/place/1220+Harbor+Bay+Pkwy,+Alameda,+CA+94502/@37.7658055,-122.3061658,13z/data=!4m5!3m4!1s0x808f84453943be59:0x975160d8992a8afe!8m2!3d37.7250838!4d-122.2330381\" rel=\"noopener\" target=\"_blank\">1220 Harbor Bay Parkway in Alameda\u003c/a>.\u003c/p>\n\u003cp>At the same time and in the same place as the dance event, there’s a free youth football camp. For young people ages 6–12, the event runs from 8am–noon. And for folks ages 13–18, the event goes from 1pm–4pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on the week’s events, check the \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener\">Fam 1st Foundation’s website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Fam 1st Family Foundation isn’t your usual nonprofit—it’s led by famed professional football players Marshawn Lynch, Marcus Peters and Josh Johnson. And this week, they’re throwing a week’s worth of events for kids and families.\u003c/p>\n\u003cp>I recently talked to the foundation’s Executive Director, Brije Gammage, who says that Fam 1st’s \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">Family Celebrity Week\u003c/a> has been going on for about a dozen years. After its inaugural year as a football camp and barbecue, it’s evolved to be much more. \u003c/p>\n\u003cp>But even with its growth and success, it hasn’t lost its purpose. “It’s about having a week of community coming together,” says Gammage. “And it’s also a chance to have the people who are a part of the foundation give back, and also bring out celebrities and players, and have them give something back.”\u003c/p>\n\u003cp>Looking at the schedule, it seems like the stars and the community will be aligned.\u003c/p>\n\u003cp>On Monday and Tuesday, July 8 and 9, the foundation gives away free tickets to Six Flags Hurricane Harbor in Concord for folks under 18. The passes can be claimed at the \u003ca href=\"https://www.beastmodeonline.com/pages/locations\" rel=\"noopener\" target=\"_blank\">Beast Mode store in downtown Oakland\u003c/a>, or at the front desk of the \u003ca href=\"http://www.westoaklandyouthcenter.org/\" rel=\"noopener\" target=\"_blank\">West Oakland Youth Center\u003c/a>. Tickets are good for admission to the park on Wednesday, July 10, and are limited to the first 2,000 kids to claim them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Tuesday, July 9, Los Angeles Rams star cornerback Marcus Peters hosts his 4th annual “It Take A Village” carnival at his alma mater, \u003ca href=\"https://www.ousd.org/mcclymonds\" rel=\"noopener\" target=\"_blank\">McClymonds High School\u003c/a> in West Oakland, from 2pm-8pm. There’ll be food, games and music; everything is free.\u003c/p>\n\u003cp>On Thursday, July 11, a talent show gets underway at \u003ca href=\"https://oaklandtech.com/staff/about/overview/\" rel=\"noopener\" target=\"_blank\">Oakland Tech\u003c/a> for ages 4-18. The event runs 5pm-9pm, and costs $5 to attend. This first-place winner of the talent show pockets $1,500, with second- and third-place cash prizes as well.\u003c/p>\n\u003cp>Friday night, July 12, is bowling night at \u003ca href=\"http://www.thealbanybowl.com/\" rel=\"noopener\" target=\"_blank\">Albany Bowl\u003c/a>. General tickets are $10–$35, with presale tickets available \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" rel=\"noopener\" target=\"_blank\">online\u003c/a>.\u003c/p>\n\u003cp>On Saturday, July 13, a dance camp for youth runs from 8am–noon for youth ages 6-12, and 1pm–4pm for ages 13-18. The free event is held at the Oakland Raiders Headquarters at \u003ca href=\"https://www.google.com/maps/place/1220+Harbor+Bay+Pkwy,+Alameda,+CA+94502/@37.7658055,-122.3061658,13z/data=!4m5!3m4!1s0x808f84453943be59:0x975160d8992a8afe!8m2!3d37.7250838!4d-122.2330381\" rel=\"noopener\" target=\"_blank\">1220 Harbor Bay Parkway in Alameda\u003c/a>.\u003c/p>\n\u003cp>At the same time and in the same place as the dance event, there’s a free youth football camp. For young people ages 6–12, the event runs from 8am–noon. And for folks ages 13–18, the event goes from 1pm–4pm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on the week’s events, check the \u003ca href=\"http://www.fam1stfamilyfoundation.org/\" target=\"_blank\" rel=\"noopener\">Fam 1st Foundation’s website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "John Waters Talks Microdosing, Homelessness, and Cops in Pride Before Burger Boogaloo",
"headTitle": "John Waters Talks Microdosing, Homelessness, and Cops in Pride Before Burger Boogaloo | KQED",
"content": "\u003cp>The filmmaker and writer John Waters has since 2008 kept a home in San Francisco, but he reserves comparisons to his beloved Baltimore for the city that calls itself the town—Oakland. \u003c/p>\n\u003cp>Every year since 2015, Waters has hosted \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, an Oakland punk and garage rock festival serving a scene that regards him, the sultan of sleaze, as a sort of patron saint. His cult filmography with “Dreamlanders” Divine, Mink Stole and Edith Massey brought the delectable camp of the \u003ca href=\"https://youtu.be/TDHmgGHzDW0\" rel=\"noopener\" target=\"_blank\">Cockettes\u003c/a> into settings and storylines worthy of the most sordid paperback pulp, modeling a style of queer provocation with abiding underground and pop culture resonance. [aside postID=arts_13848767]\u003c/p>\n\u003cp>Waters, with his impish smile and pencil moustache, is as much a draw of the Boogaloo as this year’s headliners Jesus & Mary Chain, Scientists and the Dead Boys. Rounding out the festival, running Saturday, July 6 and Sunday, July 7 in Mosswood Park, are budget-rock legends Phantom Surfers and contemporary acts including Shannon & the Clams and Sheer Mag. \u003c/p>\n\u003cp>In the interview below, edited for clarity and concision, Waters discusses dropping acid as a senior citizen—an experience described in his most recent book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\u003c/em>—as well as his impressions of homelessness in the Bay Area and controversy surrounding cops in San Francisco Pride. \u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Ed. Note\u003c/strong>: This is John Waters, y’all—you know what you’re getting. Obscenity, drugs, and references to sex acts follow.]\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Acid is big in Silicon Valley among the tech set. Are they doing it right? \u003c/strong>\u003c/p>\n\u003cp>Oh, but you’re talking about pussy little microdoses. I think that’s cowardly. If you’re going to trip, let’s trip. I wanted a full blown trip like I remember from 50 years ago, and I got one. But I’m not telling young people what to do. I’m telling old people that had good experiences with it to do it with some old friends you did it with back then as like a sort of high school reunion.\u003c/p>\n\u003cp>\u003cstrong>So you’re not recommending anyone dose at Burger Boogaloo?\u003c/strong>\u003c/p>\n\u003cp>No, I’m not telling anyone to take it at Burger Boogaloo, but God knows, I don’t have to tell anybody what to do at Burger Boogaloo. I’m their host, not their moral guardian. I was a drug enthusiast, I never had a drug problem. Each person has a different experience with drugs—some people instantly become junkies. But I haven’t had a bad trip in my life! \u003c/p>\n\u003cp>\u003cstrong>Would you say punk or garage rock lends itself to the psychedelic experience? \u003c/strong>\u003c/p>\n\u003cp>Not especially. When I tripped, I listed to Dionne Warwick and the soundtrack to \u003cem>Born Free\u003c/em>, and Fellini albums, so not exactly new wave.\u003c/p>\n\u003cp>\u003cstrong>In your previous book you hitchhiked across the country, and in this book you dropped acid. What’s next, joining a cult? Hare Krishna? \u003c/strong>\u003c/p>\n\u003cp>God no, I had enough experiences with a friend in a cult to make me never, ever want to join one. Hare Krishna, I did that material in \u003cem>Female Trouble\u003c/em>: Divine’s daughter goes Hare Krishna, so she kills her. Are there still Hare Krishnas? I don’t see them bothering people in airports.\u003c/p>\n\u003cfigure id=\"attachment_13860389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-800x533.jpg\" alt=\"John Waters is patron saint of the scenes represented at Burger Boogaloo\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13860389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters is patron saint of the scenes represented at Burger Boogaloo. \u003ccite>(Lily Chou/Courtesy Burger Boogaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s 2019 and you’re hosting a festival with the Dead Boys.\u003c/strong>\u003c/p>\n\u003cp>I know, it’s very strange—the only Dead Boy I really knew is dead. Stiv [Bators] was a friend, and he was \u003ca href=\"https://www.youtube.com/watch?v=fZpxb5BIiig\">great in \u003cem>Polyester\u003c/em>\u003c/a>, which is being re-released again, by Criterion. I just saw the cover. I haven’t seen Cheetah [Chrome] since CBGB in the ’70s. I’m looking forward to it. I love meeting all of the bands. One I’m really interested in seeing is Amyl and the Sniffers. \u003c/p>\n\u003cp>\u003cstrong>We have Pride right now in San Francisco, and there’s some \u003ca href=\"https://www.kqed.org/arts/13857994/activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image\">controversy\u003c/a> about whether or not cops should have floats and march in the parade. What do you think? \u003c/strong>\u003c/p>\n\u003cp>Yes, of course they should. First of all, I haven’t been to the gay parade in San Francisco for a while, but the one in New York feels like it’s mostly straight people. I don’t mind the cops in parades. Why wouldn’t they be? I mean, not all cops are homophobic. \u003c/p>\n\u003cp>\u003cstrong>I think it’s because of the legacy of cops repressing queer and transgender people.\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m sure there are incidents of homophobic cops. I’m not saying that doesn’t happen, but I’ve also seen police guarding people fist-fucking at the Folsom Street Fair! \u003c/p>\n\u003cfigure id=\"attachment_13860390\" class=\"wp-caption alignright\" style=\"max-width: 219px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/John-Waters.jpg\" alt=\"John Waters has kept a home in San Francisco since 2008, but Oakland reminds him of his beloved Baltimore.\" width=\"219\" height=\"300\" class=\"size-full wp-image-13860390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters.jpg 219w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-160x219.jpg 160w\" sizes=\"(max-width: 219px) 100vw, 219px\">\u003cfigcaption class=\"wp-caption-text\">John Waters has kept a home in San Francisco since 2008, but Oakland reminds him of his beloved Baltimore. \u003ccite>(Courtesy Burger Boogaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Speaking of controversies, last year Burger Boogaloo was \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\">criticized\u003c/a> after Oakland cops had cleared the park of homeless people. Do you think the festival could have handled that better?\u003c/strong>\u003c/p>\n\u003cp>Well, I think [festival organizer] Marc [Ribak] has been very sensitive to people’s opinions. This year I know we have one stage, because we’re actually sharing the park with the homeless. \u003c/p>\n\u003cp>\u003cstrong>You’ve had a place in San Francisco for years, so you’ve noticed the uptick in people living on the streets. What does it say about the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Every city now is just rich people and very poor people. There’s no middle left, except Baltimore. What’s different about San Francisco is it’s so visible. In L.A., it’s worse, but most people never see. I was shocked the first time I saw Skid Row. Here you see someone nude in the street, shooting up in the middle of the day and think, wow, it’s so liberal here. They allow that? \u003c/p>\n\u003cp>\u003cstrong>What do you say to people who want these folks swept up and shipped off or in jail? \u003c/strong>\u003c/p>\n\u003cp>Does anybody in San Francisco want to put the homeless in jail? I never heard anybody be that right-wing.\u003c/p>\n\u003cp>\u003cstrong>I’m thinking about the controversy around navigation centers—a lot of people don’t want the homeless shelters and services in their neighborhoods. \u003c/strong>\u003c/p>\n\u003cp>Well I’m not going to be a hypocrite, if they opened one next to my house, I wouldn’t be happy about it either. It’s becoming like Mortville. That’s what I think it’s going to be like at Mosswood Park this year, kind of like Mortville in my movie \u003cem>Desperate Living\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo takes place June 6–7, 2019, at Mosswood Park in Oakland. \u003ca href=\"http://burgerboogaloo.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The filmmaker and writer John Waters has since 2008 kept a home in San Francisco, but he reserves comparisons to his beloved Baltimore for the city that calls itself the town—Oakland. \u003c/p>\n\u003cp>Every year since 2015, Waters has hosted \u003ca href=\"http://burgerboogaloo.com/\">Burger Boogaloo\u003c/a>, an Oakland punk and garage rock festival serving a scene that regards him, the sultan of sleaze, as a sort of patron saint. His cult filmography with “Dreamlanders” Divine, Mink Stole and Edith Massey brought the delectable camp of the \u003ca href=\"https://youtu.be/TDHmgGHzDW0\" rel=\"noopener\" target=\"_blank\">Cockettes\u003c/a> into settings and storylines worthy of the most sordid paperback pulp, modeling a style of queer provocation with abiding underground and pop culture resonance. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters, with his impish smile and pencil moustache, is as much a draw of the Boogaloo as this year’s headliners Jesus & Mary Chain, Scientists and the Dead Boys. Rounding out the festival, running Saturday, July 6 and Sunday, July 7 in Mosswood Park, are budget-rock legends Phantom Surfers and contemporary acts including Shannon & the Clams and Sheer Mag. \u003c/p>\n\u003cp>In the interview below, edited for clarity and concision, Waters discusses dropping acid as a senior citizen—an experience described in his most recent book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\u003c/em>—as well as his impressions of homelessness in the Bay Area and controversy surrounding cops in San Francisco Pride. \u003c/p>\n\u003cp>\u003cem>[\u003cstrong>Ed. Note\u003c/strong>: This is John Waters, y’all—you know what you’re getting. Obscenity, drugs, and references to sex acts follow.]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Acid is big in Silicon Valley among the tech set. Are they doing it right? \u003c/strong>\u003c/p>\n\u003cp>Oh, but you’re talking about pussy little microdoses. I think that’s cowardly. If you’re going to trip, let’s trip. I wanted a full blown trip like I remember from 50 years ago, and I got one. But I’m not telling young people what to do. I’m telling old people that had good experiences with it to do it with some old friends you did it with back then as like a sort of high school reunion.\u003c/p>\n\u003cp>\u003cstrong>So you’re not recommending anyone dose at Burger Boogaloo?\u003c/strong>\u003c/p>\n\u003cp>No, I’m not telling anyone to take it at Burger Boogaloo, but God knows, I don’t have to tell anybody what to do at Burger Boogaloo. I’m their host, not their moral guardian. I was a drug enthusiast, I never had a drug problem. Each person has a different experience with drugs—some people instantly become junkies. But I haven’t had a bad trip in my life! \u003c/p>\n\u003cp>\u003cstrong>Would you say punk or garage rock lends itself to the psychedelic experience? \u003c/strong>\u003c/p>\n\u003cp>Not especially. When I tripped, I listed to Dionne Warwick and the soundtrack to \u003cem>Born Free\u003c/em>, and Fellini albums, so not exactly new wave.\u003c/p>\n\u003cp>\u003cstrong>In your previous book you hitchhiked across the country, and in this book you dropped acid. What’s next, joining a cult? Hare Krishna? \u003c/strong>\u003c/p>\n\u003cp>God no, I had enough experiences with a friend in a cult to make me never, ever want to join one. Hare Krishna, I did that material in \u003cem>Female Trouble\u003c/em>: Divine’s daughter goes Hare Krishna, so she kills her. Are there still Hare Krishnas? I don’t see them bothering people in airports.\u003c/p>\n\u003cfigure id=\"attachment_13860389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-800x533.jpg\" alt=\"John Waters is patron saint of the scenes represented at Burger Boogaloo\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13860389\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-by-Lily-Chou.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters is patron saint of the scenes represented at Burger Boogaloo. \u003ccite>(Lily Chou/Courtesy Burger Boogaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>It’s 2019 and you’re hosting a festival with the Dead Boys.\u003c/strong>\u003c/p>\n\u003cp>I know, it’s very strange—the only Dead Boy I really knew is dead. Stiv [Bators] was a friend, and he was \u003ca href=\"https://www.youtube.com/watch?v=fZpxb5BIiig\">great in \u003cem>Polyester\u003c/em>\u003c/a>, which is being re-released again, by Criterion. I just saw the cover. I haven’t seen Cheetah [Chrome] since CBGB in the ’70s. I’m looking forward to it. I love meeting all of the bands. One I’m really interested in seeing is Amyl and the Sniffers. \u003c/p>\n\u003cp>\u003cstrong>We have Pride right now in San Francisco, and there’s some \u003ca href=\"https://www.kqed.org/arts/13857994/activists-demand-a-police-free-pride-as-sfpd-ramps-up-its-gay-friendly-image\">controversy\u003c/a> about whether or not cops should have floats and march in the parade. What do you think? \u003c/strong>\u003c/p>\n\u003cp>Yes, of course they should. First of all, I haven’t been to the gay parade in San Francisco for a while, but the one in New York feels like it’s mostly straight people. I don’t mind the cops in parades. Why wouldn’t they be? I mean, not all cops are homophobic. \u003c/p>\n\u003cp>\u003cstrong>I think it’s because of the legacy of cops repressing queer and transgender people.\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m sure there are incidents of homophobic cops. I’m not saying that doesn’t happen, but I’ve also seen police guarding people fist-fucking at the Folsom Street Fair! \u003c/p>\n\u003cfigure id=\"attachment_13860390\" class=\"wp-caption alignright\" style=\"max-width: 219px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/John-Waters.jpg\" alt=\"John Waters has kept a home in San Francisco since 2008, but Oakland reminds him of his beloved Baltimore.\" width=\"219\" height=\"300\" class=\"size-full wp-image-13860390\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters.jpg 219w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/John-Waters-160x219.jpg 160w\" sizes=\"(max-width: 219px) 100vw, 219px\">\u003cfigcaption class=\"wp-caption-text\">John Waters has kept a home in San Francisco since 2008, but Oakland reminds him of his beloved Baltimore. \u003ccite>(Courtesy Burger Boogaloo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Speaking of controversies, last year Burger Boogaloo was \u003ca href=\"https://www.kqed.org/arts/13836097/homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo\">criticized\u003c/a> after Oakland cops had cleared the park of homeless people. Do you think the festival could have handled that better?\u003c/strong>\u003c/p>\n\u003cp>Well, I think [festival organizer] Marc [Ribak] has been very sensitive to people’s opinions. This year I know we have one stage, because we’re actually sharing the park with the homeless. \u003c/p>\n\u003cp>\u003cstrong>You’ve had a place in San Francisco for years, so you’ve noticed the uptick in people living on the streets. What does it say about the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>Every city now is just rich people and very poor people. There’s no middle left, except Baltimore. What’s different about San Francisco is it’s so visible. In L.A., it’s worse, but most people never see. I was shocked the first time I saw Skid Row. Here you see someone nude in the street, shooting up in the middle of the day and think, wow, it’s so liberal here. They allow that? \u003c/p>\n\u003cp>\u003cstrong>What do you say to people who want these folks swept up and shipped off or in jail? \u003c/strong>\u003c/p>\n\u003cp>Does anybody in San Francisco want to put the homeless in jail? I never heard anybody be that right-wing.\u003c/p>\n\u003cp>\u003cstrong>I’m thinking about the controversy around navigation centers—a lot of people don’t want the homeless shelters and services in their neighborhoods. \u003c/strong>\u003c/p>\n\u003cp>Well I’m not going to be a hypocrite, if they opened one next to my house, I wouldn’t be happy about it either. It’s becoming like Mortville. That’s what I think it’s going to be like at Mosswood Park this year, kind of like Mortville in my movie \u003cem>Desperate Living\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Burger Boogaloo takes place June 6–7, 2019, at Mosswood Park in Oakland. \u003ca href=\"http://burgerboogaloo.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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.",
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"tagline": "Art is where you find it",
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"soldout": {
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"tagline": "A new future for housing",
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"info": "Tech Nation is a weekly public radio program, hosted by Dr. Moira Gunn. Founded in 1993, it has grown from a simple interview show to a multi-faceted production, featuring conversations with noted technology and science leaders, and a weekly science and technology-related commentary.",
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"title": "TED Radio Hour",
"info": "The TED Radio Hour is a journey through fascinating ideas, astonishing inventions, fresh approaches to old problems, and new ways to think and create.",
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