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"content": "\u003cp>A simple drive from one side of Oakland to the other will reveal to anyone just how serious homelessness is in the city. In a new film, \u003cem>Tent City\u003c/em>, the compelling story of a search for a homeless family member covers the same geographic ground.\u003c/p>\n\u003cp>The film (directed by Adimu “WolfHawkJaguar” Madyun) stars Sizwe Andrews-Abakah as Cicero Jacobs, a man who has fallen into a deep depression after the unexpected death of his wife. The collapse of the family leaves Cicero’s daughter Siriyah (played by Sizwe’s real-life daughter, Saba Andrews-Abakah) to search for her father, who is lost in the sea of homelessness that is Oakland—tent city.\u003c/p>\n\u003cp>What transpires is a quest many can relate to: the pursuit of a loved one, and the effort to restore them to the person they once were.\u003c/p>\n\u003cp>In the process of creating a scripted film about homelessness in Oakland, the film crew created archival footage of housing encampments that are no longer standing, as people have been ushered into city-ordained encampments. The combination of heavy content based in reality and dramatic screenplay also open the gates to conversation around a topic with which many in Oakland have experience. After a screening on Friday, June 28, to ensure that conversation is held in a safe and respectful manner, journalist Davey D leads a Q&A with filmmakers and cast.\u003c/p>\n\u003cp>The June 28 screening of ‘Tent City,’ at the East Bay Church of Religious Science, doors open at 6pm, the screening starts at 7pm and is free to all. (Donations of bottled water, socks, tarps, large Ziploc bags and baby wipes accepted for distribution to the homeless.) \u003ca href=\"https://www.tentcitythemovie.com/\" target=\"_blank\" rel=\"noopener\">More 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>A simple drive from one side of Oakland to the other will reveal to anyone just how serious homelessness is in the city. In a new film, \u003cem>Tent City\u003c/em>, the compelling story of a search for a homeless family member covers the same geographic ground.\u003c/p>\n\u003cp>The film (directed by Adimu “WolfHawkJaguar” Madyun) stars Sizwe Andrews-Abakah as Cicero Jacobs, a man who has fallen into a deep depression after the unexpected death of his wife. The collapse of the family leaves Cicero’s daughter Siriyah (played by Sizwe’s real-life daughter, Saba Andrews-Abakah) to search for her father, who is lost in the sea of homelessness that is Oakland—tent city.\u003c/p>\n\u003cp>What transpires is a quest many can relate to: the pursuit of a loved one, and the effort to restore them to the person they once were.\u003c/p>\n\u003cp>In the process of creating a scripted film about homelessness in Oakland, the film crew created archival footage of housing encampments that are no longer standing, as people have been ushered into city-ordained encampments. The combination of heavy content based in reality and dramatic screenplay also open the gates to conversation around a topic with which many in Oakland have experience. After a screening on Friday, June 28, to ensure that conversation is held in a safe and respectful manner, journalist Davey D leads a Q&A with filmmakers and cast.\u003c/p>\n\u003cp>The June 28 screening of ‘Tent City,’ at the East Bay Church of Religious Science, doors open at 6pm, the screening starts at 7pm and is free to all. (Donations of bottled water, socks, tarps, large Ziploc bags and baby wipes accepted for distribution to the homeless.) \u003ca href=\"https://www.tentcitythemovie.com/\" target=\"_blank\" rel=\"noopener\">More details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Updated Tuesday, 3:45 p.m. \u003c/em>\u003c/p>\n\u003cp>A coalition of Oakland arts and culture groups have appealed Orton Development’s plan to renovate and manage the city-owned Henry J. Kaiser Convention Center, showing intensified scrutiny of the derelict civic landmark’s expected return as office and performance space.\u003c/p>\n\u003cp>The coalition, which includes organizations such as the Black Arts Movement Business District Community Development Corporation, East Side Arts Alliance, Asian Pacific-Islander Environmental Network and the Malonga Arts Residents Association, wants the City of Oakland to halt Orton’s $50 million plan until ensuring stronger commitments to affordability and accessibility, or else solicit new redevelopment proposals altogether. \u003c/p>\n\u003cp>It’s a proposal to serve several hundred in a space that, critics point out, for decades served several thousand. Some stakeholders would still prefer to see the main arena space restored as an arena or for more public-facing uses, making the thought of private offices doubly offensive. [aside postID='arts_13852472']\u003c/p>\n\u003cp>The appeal, which aims to reverse a planning commission approval from April, says Orton has neglected its public access obligations and failed to offer enough office and performance space at rates affordable to the Oakland arts and nonprofit organizations the developer says it wants to attract. In other words, it’s a challenge from the very groups the project purports to serve.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At issue for the activists and arts and neighborhood groups represented by the appellant coalition is whether or not Orton is offering sufficient community benefits in light of the building’s cultural significance and the pending terms of its claim on the former convention center. If approved, Orton would have a 99-year lease with the City of Oakland. \u003c/p>\n\u003cp>The appellants also argue that officials have disregarded the city’s equity goals—in particular, a mandate to redress historic injustices by ensuring people of color share in the benefits of the city’s economic upswing. These goals are articulated in deeply-researched city documents such as the \u003ca href=\"https://www.kqed.org/arts/13827589/oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years\" target=\"_blank\" rel=\"noopener\">Cultural Plan\u003c/a> and Strategies for Protecting Arts & Culture Space in Oakland.\u003c/p>\n\u003cp>“Having these policies and not enacting them is called benign neglect,” said coalition member Ayodele Nzinga, founding director of Lower Bottom Playaz and a key part of the Black Arts Movement Business District. “From what we know of this deal, there’s no public benefit.”\u003c/p>\n\u003cfigure id=\"attachment_13859578\" 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-Sculptural-niche-3-800x450.jpg\" alt=\"A sculptural niche on the north side of the Henry J. Kaiser Convention Center.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13859578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-1200x676.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sculptural niche on the north side of the Henry J. Kaiser Convention Center. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underlying the conflict is a deeper anxiety about outsourcing the revival of a public asset to a private entity. Mitchell Schwarzer, an architecture and urbanism historian who teaches at California College of the Arts, believes it reflects the city favoring professionals at the expense of the commons, a trend he described recently in an \u003ca href=\"https://placesjournal.org/article/privatizing-the-public-city/\" target=\"_blank\" rel=\"noopener\">article\u003c/a> for \u003cem>Places Journal\u003c/em>. \u003c/p>\n\u003cp>“To take what was the most important civic gathering space and turn it into privatized offices, even for nonprofits, that’s terribly symptomatic of where Oakland is going,” he said, calling the 1914 building the centerpiece of Oakland’s “City Beautiful” push for regal public amenities. \u003c/p>\n\u003cp>The 215,000-square-foot Beaux Arts building hosted presidents, sports and performers for most of the 20th century, but it’s stood empty since 2006—a conspicuous monument to disinvestment beside Laney College and Oakland Museum of California on the southern edge of Lake Merritt. A city-sanctioned “Tuff Shed” homeless encampment occupies part of the parking lot. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" 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-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>Orton won redevelopment rights in 2015, and now intends to turn the main arena into offices, with workspace reserved for nonprofits and arts groups struggling to afford commercial rent in Oakland. Their plan also includes restoring the smaller Calvin Simmons Theater as a 1,500-seat performance space. Part of the idea is to centralize administration, storage, rehearsal and programmatic facilities for performing arts outfits such as the Oakland Ballet and the Oakland Symphony. \u003c/p>\n\u003cp>(The Calvin Simmons Theater hosted the Oakland Symphony, whose former leader it’s named after, until the 1970s, and current music director Michael Morgan has lauded its acoustics.)\u003c/p>\n\u003cp>Orton expects the rechristened “Oakland Civic” project to cost $64.5 million. Financing, pending council approval, involves a large subsidy from the city: $3.1 million in grants and up to $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas, with the developer covering the remainder. \u003c/p>\n\u003cp>Orton project manager David Dial didn’t respond to an interview request, but this week the developer provided the appellant coalition its first discussion draft of a community benefits agreement. The document proposes 17 percent of office space for nonprofit arts and education groups, much of it at $2-$2.80 per square foot for “small organizations led by people of color.” Orton plans to offer long-term leases, and create an endowment to subsidize theater rentals.\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>Appellant coalition member Eric Arnold, a former City of Oakland equity consultant who’s helped negotiate several community benefits agreements, said the proposal shows good faith from Orton. “But it does not reflect a thorough community engagement process—it’s taken four years to get to this point,” he said.\u003c/p>\n\u003cp>Arnold wants firmer commitments to Calvin Simmons Theater accessibility, lest it become as cost-prohibitive to use as the Paramount and Fox theaters. “They’re exclusionary—exactly the model we don’t want to repeat,” he said, adding that the Kaiser redevelopment overall is a key opportunity for the City of Oakland to implement its own strategies for cultural preservation.\u003c/p>\n\u003cp>Without the terms of Orton’s own lease with the City of Oakland, though, Nzinga said it’s difficult for stakeholders to actually assess the agreement. “This project is not only typical of the city’s failure to develop a public lands use policy, it’s indicative of how their public engagement strategy fails,” Nzinga said. “It doesn’t allow for community input until after the ship has sailed.” \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>Nzinga similarly believes the city is avoiding giving the appeal a public airing. Oakland councilmember Nikki Fortunato Bas, whose district includes the Kaiser Convention Center, said at a May committee hearing that she hadn’t received the appeal until days prior, prompting her colleagues to criticize city administration for poor communication with elected officials. \u003c/p>\n\u003cp>(Bas did not provide a statement for this article.) \u003c/p>\n\u003cp>Mark Sawicki, Oakland’s director of economic and workforce development, said at the meeting that the council’s vote on the appeal, assuming it’s denied, needs to be fast-tracked in order for the city to help Orton take advantage of the tax credits—which expire at the end of the year. \u003c/p>\n\u003cp>City council is scheduled to vote on the appeal Tuesday, and a report from the department of building and planning recommends denial, saying the challenge is addressed to the wrong entity. “The Planning Commission does not have authority to legislate the terms of disposition or use of public land—only the City Council does,” it reads.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Arnold called the Kaiser redevelopment the “perfect storm,” a high-stakes test of officials’ ability to strike a good deal for their constituents. “This is one of the city’s last big public assets,” he said. “So it’s imperative to derive maximum public benefits.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Updated Tuesday, 3:45 p.m. \u003c/em>\u003c/p>\n\u003cp>A coalition of Oakland arts and culture groups have appealed Orton Development’s plan to renovate and manage the city-owned Henry J. Kaiser Convention Center, showing intensified scrutiny of the derelict civic landmark’s expected return as office and performance space.\u003c/p>\n\u003cp>The coalition, which includes organizations such as the Black Arts Movement Business District Community Development Corporation, East Side Arts Alliance, Asian Pacific-Islander Environmental Network and the Malonga Arts Residents Association, wants the City of Oakland to halt Orton’s $50 million plan until ensuring stronger commitments to affordability and accessibility, or else solicit new redevelopment proposals altogether. \u003c/p>\n\u003cp>It’s a proposal to serve several hundred in a space that, critics point out, for decades served several thousand. Some stakeholders would still prefer to see the main arena space restored as an arena or for more public-facing uses, making the thought of private offices doubly offensive. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The appeal, which aims to reverse a planning commission approval from April, says Orton has neglected its public access obligations and failed to offer enough office and performance space at rates affordable to the Oakland arts and nonprofit organizations the developer says it wants to attract. In other words, it’s a challenge from the very groups the project purports to serve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At issue for the activists and arts and neighborhood groups represented by the appellant coalition is whether or not Orton is offering sufficient community benefits in light of the building’s cultural significance and the pending terms of its claim on the former convention center. If approved, Orton would have a 99-year lease with the City of Oakland. \u003c/p>\n\u003cp>The appellants also argue that officials have disregarded the city’s equity goals—in particular, a mandate to redress historic injustices by ensuring people of color share in the benefits of the city’s economic upswing. These goals are articulated in deeply-researched city documents such as the \u003ca href=\"https://www.kqed.org/arts/13827589/oakland-releases-draft-of-citys-cultural-plan-its-first-in-30-years\" target=\"_blank\" rel=\"noopener\">Cultural Plan\u003c/a> and Strategies for Protecting Arts & Culture Space in Oakland.\u003c/p>\n\u003cp>“Having these policies and not enacting them is called benign neglect,” said coalition member Ayodele Nzinga, founding director of Lower Bottom Playaz and a key part of the Black Arts Movement Business District. “From what we know of this deal, there’s no public benefit.”\u003c/p>\n\u003cfigure id=\"attachment_13859578\" 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-Sculptural-niche-3-800x450.jpg\" alt=\"A sculptural niche on the north side of the Henry J. Kaiser Convention Center.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13859578\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3-1200x676.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/Kaiser-Auditorium-Sculptural-niche-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A sculptural niche on the north side of the Henry J. Kaiser Convention Center. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Underlying the conflict is a deeper anxiety about outsourcing the revival of a public asset to a private entity. Mitchell Schwarzer, an architecture and urbanism historian who teaches at California College of the Arts, believes it reflects the city favoring professionals at the expense of the commons, a trend he described recently in an \u003ca href=\"https://placesjournal.org/article/privatizing-the-public-city/\" target=\"_blank\" rel=\"noopener\">article\u003c/a> for \u003cem>Places Journal\u003c/em>. \u003c/p>\n\u003cp>“To take what was the most important civic gathering space and turn it into privatized offices, even for nonprofits, that’s terribly symptomatic of where Oakland is going,” he said, calling the 1914 building the centerpiece of Oakland’s “City Beautiful” push for regal public amenities. \u003c/p>\n\u003cp>The 215,000-square-foot Beaux Arts building hosted presidents, sports and performers for most of the 20th century, but it’s stood empty since 2006—a conspicuous monument to disinvestment beside Laney College and Oakland Museum of California on the southern edge of Lake Merritt. A city-sanctioned “Tuff Shed” homeless encampment occupies part of the parking lot. \u003c/p>\n\u003cfigure id=\"attachment_13859580\" 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-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>Orton won redevelopment rights in 2015, and now intends to turn the main arena into offices, with workspace reserved for nonprofits and arts groups struggling to afford commercial rent in Oakland. Their plan also includes restoring the smaller Calvin Simmons Theater as a 1,500-seat performance space. Part of the idea is to centralize administration, storage, rehearsal and programmatic facilities for performing arts outfits such as the Oakland Ballet and the Oakland Symphony. \u003c/p>\n\u003cp>(The Calvin Simmons Theater hosted the Oakland Symphony, whose former leader it’s named after, until the 1970s, and current music director Michael Morgan has lauded its acoustics.)\u003c/p>\n\u003cp>Orton expects the rechristened “Oakland Civic” project to cost $64.5 million. Financing, pending council approval, involves a large subsidy from the city: $3.1 million in grants and up to $20 million in New Markets Tax Credits, a federal program for spurring investment in poor areas, with the developer covering the remainder. \u003c/p>\n\u003cp>Orton project manager David Dial didn’t respond to an interview request, but this week the developer provided the appellant coalition its first discussion draft of a community benefits agreement. The document proposes 17 percent of office space for nonprofit arts and education groups, much of it at $2-$2.80 per square foot for “small organizations led by people of color.” Orton plans to offer long-term leases, and create an endowment to subsidize theater rentals.\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>Appellant coalition member Eric Arnold, a former City of Oakland equity consultant who’s helped negotiate several community benefits agreements, said the proposal shows good faith from Orton. “But it does not reflect a thorough community engagement process—it’s taken four years to get to this point,” he said.\u003c/p>\n\u003cp>Arnold wants firmer commitments to Calvin Simmons Theater accessibility, lest it become as cost-prohibitive to use as the Paramount and Fox theaters. “They’re exclusionary—exactly the model we don’t want to repeat,” he said, adding that the Kaiser redevelopment overall is a key opportunity for the City of Oakland to implement its own strategies for cultural preservation.\u003c/p>\n\u003cp>Without the terms of Orton’s own lease with the City of Oakland, though, Nzinga said it’s difficult for stakeholders to actually assess the agreement. “This project is not only typical of the city’s failure to develop a public lands use policy, it’s indicative of how their public engagement strategy fails,” Nzinga said. “It doesn’t allow for community input until after the ship has sailed.” \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>Nzinga similarly believes the city is avoiding giving the appeal a public airing. Oakland councilmember Nikki Fortunato Bas, whose district includes the Kaiser Convention Center, said at a May committee hearing that she hadn’t received the appeal until days prior, prompting her colleagues to criticize city administration for poor communication with elected officials. \u003c/p>\n\u003cp>(Bas did not provide a statement for this article.) \u003c/p>\n\u003cp>Mark Sawicki, Oakland’s director of economic and workforce development, said at the meeting that the council’s vote on the appeal, assuming it’s denied, needs to be fast-tracked in order for the city to help Orton take advantage of the tax credits—which expire at the end of the year. \u003c/p>\n\u003cp>City council is scheduled to vote on the appeal Tuesday, and a report from the department of building and planning recommends denial, saying the challenge is addressed to the wrong entity. “The Planning Commission does not have authority to legislate the terms of disposition or use of public land—only the City Council does,” it reads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arnold called the Kaiser redevelopment the “perfect storm,” a high-stakes test of officials’ ability to strike a good deal for their constituents. “This is one of the city’s last big public assets,” he said. “So it’s imperative to derive maximum public benefits.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Last Black Man in San Francisco' Hits Home in Oakland",
"headTitle": "‘The Last Black Man in San Francisco’ Hits Home in Oakland | KQED",
"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\">A\u003c/span>ight, so boom: Last Thursday I’m on stage at the Grand Lake Theatre, hosting a panel discussion after a screening of \u003cem>The Last Black Man in San Francisco\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I’m underdressed: a black T-shirt, jean jacket and a Warriors hat. I mean, the event was happening at the same time as the first game of the NBA finals, so I’m rocking the hat for a reason. But I’m missing the game because—well, I told you: I’m hosting a panel. And it’s not just any panel, but one that pushed me to look at my personal experiences inside of those same theater walls in a way that made me realize: the doorways of the Grand Lake Theatre could tell the story of my maturation into manhood.\u003c/p>\n\u003cp>But we weren’t there to talk about me, we were there to talk about the film. And I had some heavyweights on the set.\u003c/p>\n\u003cp>To my left was director Joe Talbot. Next to him sat lead actor Jimmie Fails IV and legendary actor, activist and Bay Area native Danny Glover. And on the side of Glover was actor Rob Morgan, who you might know from his role in \u003cem>Stranger Things\u003c/em> or \u003cem>Mudbound\u003c/em>. And at the end of the stage was film and TV star Tichina Arnold.\u003c/p>\n\u003cfigure id=\"attachment_13858841\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg\" alt=\"The cast of 'The Last Black Man in San Francisco.'\" width=\"750\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336-160x119.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘The Last Black Man in San Francisco.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the audience sat congresswoman Barbara Lee, former Oakland council member Desley Brooks and former Berkeley mayor Gus Newport. Actor Delroy Lindo was there, as well as rapper and \u003cem>Sorry To Bother You\u003c/em> director Boots Riley and his father, the labor attorney Walter Riley. In fact, I was sitting right in front of the older Riley during the screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> took as many notes as I could in the dimly lit, fancy, Art Deco-style movie house.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> is based on the real life experiences of Jimmie Fails IV (who plays the character of the same name), a native San Franciscan who wants nothing more than to regain this beautiful mammoth of a house in the Fillmore District. In the movie, the story goes that Jimmie’s father’s father was no carpenter, but managed to buy the lot and construct the building with his own hands. Due to Jimmie’s father’s mismanagement, the family lost the house when Jimmie was young, but he never lost his affection for the place.\u003c/p>\n\u003cp>Through this tale of Jimmie’s efforts to preserve family legacy, you not only get a look at a rapidly changing San Francisco, but a perspective on how the concept of home is intertwined with identity and masculinity—especially for a black man who grew up as a have-not.\u003c/p>\n\u003cp>Jimmie’s best friend Montgomery Allen, played by Jonathan Majors, is a quirky creative who has a front row seat to the play that is Jimmie’s life. He sees Jimmie’s broken family, the hood cats that Jimmie grew up with and Jimmie’s escape mechanism and top mode of transportation—his skateboard. [aside postid='arts_13858037']\u003c/p>\n\u003cp>It’s Monty, as they call him, who portrays Jimmie’s experiences in his art in an effort to tell his friend: he’s much more than four walls—he’s a nuanced human being in a rapidly changing world, and that’s OK.\u003c/p>\n\u003cp>Does Jimmie hear that? I don’t think so. I wouldn’t have heard it either.\u003c/p>\n\u003cp>I grew up moving every few years. Never owned property or had a family home. But Oakland is my home, much in the same way that building is Jimmie’s. I don’t own anything in Oakland, but, like Jimmie, I do my best to make sure the trim is painted and the perennials are pruned.\u003c/p>\n\u003cp>It’s more than home, it’s intertwined with my concept of identity, manhood, ego, id—me. Whatever you want to call it. And I shudder at the thought of having to leave here because I can’t afford a place to live.\u003c/p>\n\u003cp>(Now we’re not talking about the film, we’re talking about me.)\u003c/p>\n\u003cp>To watch this film in the Grand Lake Theatre meant something. It’s the place where I ran out of\u003cem> Jurassic Park\u003c/em> crying because I was a scared elementary school kid. It’s where I got to third base with my middle school girlfriend while we watched \u003cem>Shallow Hal\u003c/em>.\u003c/p>\n\u003cp>I’ve brought in whole meals from the nearby KFC and propped open the back door to let friends in to films they couldn’t afford.\u003c/p>\n\u003cp>I have memories of shedding tears while watching \u003cem>Selma\u003c/em> with my mom on one side of the theatre, and memories of the whole audience seemingly crying in unison as we all watched \u003cem>Fruitvale Station \u003c/em>on the other side\u003cem>—\u003c/em>with Oscar Grant’s mom not too far from me.\u003c/p>\n\u003cp>So we we talked about this idea of manhood and place on the panel. The plan was to discuss more, but this concept took over the discussion.\u003c/p>\n\u003cfigure id=\"attachment_13858094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg\" alt=\"Still from Joe Talbot's 'The Last Black Man in San Francisco,' with Jonathan Majors and Jimmie Fails.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Joe Talbot’s ‘The Last Black Man in San Francisco,’ with Jonathan Majors and Jimmie Fails. \u003ccite>(Photo by Peter Prato; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I wanted to ask Joe Talbot, a white man, about his thought process while writing about himself as Jimmie’s good friend—a role that was portrayed by a black man. I wanted to know more about the soundtrack, how live instruments and Joni Mitchell samples were chosen. And who was the genius who made sure San Francisco rap greats like Willie Hen and San Quinn had cameos?\u003c/p>\n\u003cp>What significance did doorways play in the film, as they seemed to serve as a mechanism to stepping into someone’s world?\u003c/p>\n\u003cp>I wanted to ask Tichina Arnold about her outpouring of appreciation for film producer and Oakland native Khaliah Neal—who Arnold pulled to the center of the stage prior to the screening to give her the spotlight. When I saw Neal, wearing an ‘East Side of Oakland’ shirt, I noted that identity, place and home aren’t just concepts impacting black men.\u003c/p>\n\u003cp>I wanted to ask Jimmie Fails IV about skating down those San Francisco hills without a stunt double.\u003c/p>\n\u003cp>But instead of going as I planned, the conversation went the way it was supposed to go.\u003c/p>\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\">J\u003c/span>immie and Joe talked about how the film concept evolved from a joke, to a trailer and then a Kickstarter campaign before becoming a full-length film.\u003c/p>\n\u003cp>I asked Danny Glover his initial reaction when he saw the premise of the film, and he opened up his personal history book—noting nearly a century of family history in the City, and how major events, like the longshoreman strike of 1934 and WWII, are intertwined with his own tale.\u003c/p>\n\u003cp>The next day I was conversing with \u003ca href=\"https://twitter.com/isanaka\">Isanaka\u003c/a> on Twitter, letting her know I had never experienced a lesson like the one Glover offered by merging his lived experience with the seldom-told story of San Francisco’s African-American history. I tagged Glover in the tweet, Glover responded with this:\u003c/p>\n\u003cfigure id=\"attachment_13858844\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg\" alt=\"Danny Glover's Tweet to me\" width=\"750\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301-160x153.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover’s Tweet to me \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it was Tichina Arnold’s words that resonated the most. “I always say, ‘Black men are everything,’” Arnold said on the topic of how important it is to show the complexities of African-American men in film.\u003c/p>\n\u003cfigure id=\"attachment_13858842\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg\" alt=\"Panel discussion after screen The Last Black Man in San Francisco\" width=\"750\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337-160x160.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Panel discussion after screen The Last Black Man in San Francisco \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And by everything, she meant that they—we—should be shown in totality. And that’s what the film did.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> made me think about Kehinde Wiley paintings. It brought to mind \u003cem>Moonlight\u003c/em>, \u003cem>Boyz n the Hood\u003c/em> and \u003cem>Blindspotting\u003c/em>. Flashes of photos from Gordon Parks or Devin Allen. It was the visual equivalent of a verse from Common or a James Baldwin poem.\u003c/p>\n\u003cp>It’s a damn good film about San Francisco, and a cold depiction of black manhood. It hit home for me, even if Oakland wasn’t mentioned.\u003c/p>\n\u003cp>There were images that I recognized: like the joy Jimmie exuded when he finally got into the house—running around wildly until he slipped and busted his lip. And there were depictions of tense moments, like after Kofi (played by \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a>) was killed and his crew members came toe-to-toe with Jimmie for asking questions regarding the homicide, only to open up for a hug.\u003c/p>\n\u003cp>There weren’t any images of Pier 39 or Alcatraz. I can’t recall if they even showed the Golden Gate. Instead, \u003cem>The Last Black Man in San Francisco\u003c/em> reminded us that the Fillmore was “the Harlem of the West,” and made mention of the toxic water and soil due to the Navy’s presence in the Bayview–Hunters Point neighborhood.\u003c/p>\n\u003cp>Cable cars were there, but that was only when we saw main character barreling down those massive SF hills on a skateboard like he runs the joint—I still want to know how he mastered that craft of navigating the City like that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But I guess when a place is home, you just own it.\u003c/p>\n\n",
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"excerpt": "Joe Talbot and Jimmie Fails IV's new film explores black masculinity amid displacement. ",
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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\">A\u003c/span>ight, so boom: Last Thursday I’m on stage at the Grand Lake Theatre, hosting a panel discussion after a screening of \u003cem>The Last Black Man in San Francisco\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>I’m underdressed: a black T-shirt, jean jacket and a Warriors hat. I mean, the event was happening at the same time as the first game of the NBA finals, so I’m rocking the hat for a reason. But I’m missing the game because—well, I told you: I’m hosting a panel. And it’s not just any panel, but one that pushed me to look at my personal experiences inside of those same theater walls in a way that made me realize: the doorways of the Grand Lake Theatre could tell the story of my maturation into manhood.\u003c/p>\n\u003cp>But we weren’t there to talk about me, we were there to talk about the film. And I had some heavyweights on the set.\u003c/p>\n\u003cp>To my left was director Joe Talbot. Next to him sat lead actor Jimmie Fails IV and legendary actor, activist and Bay Area native Danny Glover. And on the side of Glover was actor Rob Morgan, who you might know from his role in \u003cem>Stranger Things\u003c/em> or \u003cem>Mudbound\u003c/em>. And at the end of the stage was film and TV star Tichina Arnold.\u003c/p>\n\u003cfigure id=\"attachment_13858841\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg\" alt=\"The cast of 'The Last Black Man in San Francisco.'\" width=\"750\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5336-160x119.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘The Last Black Man in San Francisco.’ \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the audience sat congresswoman Barbara Lee, former Oakland council member Desley Brooks and former Berkeley mayor Gus Newport. Actor Delroy Lindo was there, as well as rapper and \u003cem>Sorry To Bother You\u003c/em> director Boots Riley and his father, the labor attorney Walter Riley. In fact, I was sitting right in front of the older Riley during the screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> took as many notes as I could in the dimly lit, fancy, Art Deco-style movie house.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> is based on the real life experiences of Jimmie Fails IV (who plays the character of the same name), a native San Franciscan who wants nothing more than to regain this beautiful mammoth of a house in the Fillmore District. In the movie, the story goes that Jimmie’s father’s father was no carpenter, but managed to buy the lot and construct the building with his own hands. Due to Jimmie’s father’s mismanagement, the family lost the house when Jimmie was young, but he never lost his affection for the place.\u003c/p>\n\u003cp>Through this tale of Jimmie’s efforts to preserve family legacy, you not only get a look at a rapidly changing San Francisco, but a perspective on how the concept of home is intertwined with identity and masculinity—especially for a black man who grew up as a have-not.\u003c/p>\n\u003cp>Jimmie’s best friend Montgomery Allen, played by Jonathan Majors, is a quirky creative who has a front row seat to the play that is Jimmie’s life. He sees Jimmie’s broken family, the hood cats that Jimmie grew up with and Jimmie’s escape mechanism and top mode of transportation—his skateboard. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s Monty, as they call him, who portrays Jimmie’s experiences in his art in an effort to tell his friend: he’s much more than four walls—he’s a nuanced human being in a rapidly changing world, and that’s OK.\u003c/p>\n\u003cp>Does Jimmie hear that? I don’t think so. I wouldn’t have heard it either.\u003c/p>\n\u003cp>I grew up moving every few years. Never owned property or had a family home. But Oakland is my home, much in the same way that building is Jimmie’s. I don’t own anything in Oakland, but, like Jimmie, I do my best to make sure the trim is painted and the perennials are pruned.\u003c/p>\n\u003cp>It’s more than home, it’s intertwined with my concept of identity, manhood, ego, id—me. Whatever you want to call it. And I shudder at the thought of having to leave here because I can’t afford a place to live.\u003c/p>\n\u003cp>(Now we’re not talking about the film, we’re talking about me.)\u003c/p>\n\u003cp>To watch this film in the Grand Lake Theatre meant something. It’s the place where I ran out of\u003cem> Jurassic Park\u003c/em> crying because I was a scared elementary school kid. It’s where I got to third base with my middle school girlfriend while we watched \u003cem>Shallow Hal\u003c/em>.\u003c/p>\n\u003cp>I’ve brought in whole meals from the nearby KFC and propped open the back door to let friends in to films they couldn’t afford.\u003c/p>\n\u003cp>I have memories of shedding tears while watching \u003cem>Selma\u003c/em> with my mom on one side of the theatre, and memories of the whole audience seemingly crying in unison as we all watched \u003cem>Fruitvale Station \u003c/em>on the other side\u003cem>—\u003c/em>with Oscar Grant’s mom not too far from me.\u003c/p>\n\u003cp>So we we talked about this idea of manhood and place on the panel. The plan was to discuss more, but this concept took over the discussion.\u003c/p>\n\u003cfigure id=\"attachment_13858094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13858094\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg\" alt=\"Still from Joe Talbot's 'The Last Black Man in San Francisco,' with Jonathan Majors and Jimmie Fails.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from Joe Talbot’s ‘The Last Black Man in San Francisco,’ with Jonathan Majors and Jimmie Fails. \u003ccite>(Photo by Peter Prato; Courtesy of A24)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I wanted to ask Joe Talbot, a white man, about his thought process while writing about himself as Jimmie’s good friend—a role that was portrayed by a black man. I wanted to know more about the soundtrack, how live instruments and Joni Mitchell samples were chosen. And who was the genius who made sure San Francisco rap greats like Willie Hen and San Quinn had cameos?\u003c/p>\n\u003cp>What significance did doorways play in the film, as they seemed to serve as a mechanism to stepping into someone’s world?\u003c/p>\n\u003cp>I wanted to ask Tichina Arnold about her outpouring of appreciation for film producer and Oakland native Khaliah Neal—who Arnold pulled to the center of the stage prior to the screening to give her the spotlight. When I saw Neal, wearing an ‘East Side of Oakland’ shirt, I noted that identity, place and home aren’t just concepts impacting black men.\u003c/p>\n\u003cp>I wanted to ask Jimmie Fails IV about skating down those San Francisco hills without a stunt double.\u003c/p>\n\u003cp>But instead of going as I planned, the conversation went the way it was supposed to go.\u003c/p>\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\">J\u003c/span>immie and Joe talked about how the film concept evolved from a joke, to a trailer and then a Kickstarter campaign before becoming a full-length film.\u003c/p>\n\u003cp>I asked Danny Glover his initial reaction when he saw the premise of the film, and he opened up his personal history book—noting nearly a century of family history in the City, and how major events, like the longshoreman strike of 1934 and WWII, are intertwined with his own tale.\u003c/p>\n\u003cp>The next day I was conversing with \u003ca href=\"https://twitter.com/isanaka\">Isanaka\u003c/a> on Twitter, letting her know I had never experienced a lesson like the one Glover offered by merging his lived experience with the seldom-told story of San Francisco’s African-American history. I tagged Glover in the tweet, Glover responded with this:\u003c/p>\n\u003cfigure id=\"attachment_13858844\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg\" alt=\"Danny Glover's Tweet to me\" width=\"750\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5301-160x153.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Danny Glover’s Tweet to me \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But it was Tichina Arnold’s words that resonated the most. “I always say, ‘Black men are everything,’” Arnold said on the topic of how important it is to show the complexities of African-American men in film.\u003c/p>\n\u003cfigure id=\"attachment_13858842\" class=\"wp-caption alignnone\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13858842\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg\" alt=\"Panel discussion after screen The Last Black Man in San Francisco\" width=\"750\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/06/IMG_5337-160x160.jpg 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Panel discussion after screen The Last Black Man in San Francisco \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And by everything, she meant that they—we—should be shown in totality. And that’s what the film did.\u003c/p>\n\u003cp>\u003cem>The Last Black Man in San Francisco\u003c/em> made me think about Kehinde Wiley paintings. It brought to mind \u003cem>Moonlight\u003c/em>, \u003cem>Boyz n the Hood\u003c/em> and \u003cem>Blindspotting\u003c/em>. Flashes of photos from Gordon Parks or Devin Allen. It was the visual equivalent of a verse from Common or a James Baldwin poem.\u003c/p>\n\u003cp>It’s a damn good film about San Francisco, and a cold depiction of black manhood. It hit home for me, even if Oakland wasn’t mentioned.\u003c/p>\n\u003cp>There were images that I recognized: like the joy Jimmie exuded when he finally got into the house—running around wildly until he slipped and busted his lip. And there were depictions of tense moments, like after Kofi (played by \u003ca href=\"https://www.npr.org/2019/03/20/705019611/san-francisco-to-pay-13-1-million-to-man-framed-by-police-for-murder\" target=\"_blank\" rel=\"noopener noreferrer\">Jamal Trulove\u003c/a>) was killed and his crew members came toe-to-toe with Jimmie for asking questions regarding the homicide, only to open up for a hug.\u003c/p>\n\u003cp>There weren’t any images of Pier 39 or Alcatraz. I can’t recall if they even showed the Golden Gate. Instead, \u003cem>The Last Black Man in San Francisco\u003c/em> reminded us that the Fillmore was “the Harlem of the West,” and made mention of the toxic water and soil due to the Navy’s presence in the Bayview–Hunters Point neighborhood.\u003c/p>\n\u003cp>Cable cars were there, but that was only when we saw main character barreling down those massive SF hills on a skateboard like he runs the joint—I still want to know how he mastered that craft of navigating the City like that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I guess when a place is home, you just own it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Record Scratch: Upstart Oakland Vinyl Manufacturer Going Out of Business",
"headTitle": "Record Scratch: Upstart Oakland Vinyl Manufacturer Going Out of Business | KQED",
"content": "\u003cp>Eagerly-anticipated West Oakland record manufacturer Second Line Vinyl is at risk of losing all of its equipment to a creditor less than two years after announcing ambitious goals to build a venue and recording studio alongside the city’s first vinyl pressing plant since the 1930s, KQED has learned.\u003c/p>\n\u003cp>\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a> founder and chief executive Zane Howard confirmed that he’s struggled to attract enough investment to bring the facility into action. “We’re having to wind down,” he said. “I would say the business is in jeopardy just as it was ready to begin pressing.”\u003c/p>\n\u003cp>Lyz Luke, Second Line’s community affairs director, used starker language in an email Saturday to industry contacts. “Our funding has run out and we are going to have to shut down,” she wrote.\u003c/p>\n\u003cp>The business’ main lender, Stockton pencil manufacturer California Cedar Products, has moved to recover the specialized pressing machinery used as collateral. Howard said an auction of the assets, publicly noticed in a local newspaper Monday, has been postponed until next week while he attempts to negotiate with the lender. [aside postID=arts_13812043,arts_13855266]\u003c/p>\n\u003cp>Howard valued the equipment at around $300,000, with an additional $100,000 in installation costs.\u003c/p>\n\u003cp>“We don’t know what will happen to the equipment,” he said, adding that he hopes to strike a new deal with California Cedar Products.\u003c/p>\n\u003cp>(KQED has contacted California Cedar Products for comment.)\u003c/p>\n\u003cp>In late 2017, Howard invited media, investors and music industry figures to the 40,000 square foot Mandela Parkway facility and said that, by the end of the next year, six newly built presses capable of producing a million units annually would be up and running.\u003c/p>\n\u003cp>The auction notice lists one combination press, extruder and cutter, and related equipment such as a steam boiler and water cooling tower. But the system isn’t operational. (One problem is difficulties working with Pacific Gas & Electric, which is in bankruptcy proceedings, to upgrade the gas line.) Meanwhile, Second Line has been brokering manufacturing deals with other plants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to Howard, there’s ample demand. Second Line’s brokering revenue for the past 12 months is approximately $500,000, and the company has fielded inquiries from major labels as well as local clients. Still, the business hasn’t raised enough capital, leaving Howard and his team without pay for several months now.\u003c/p>\n\u003cp>“There still needs to be a pressing operation in the Bay Area, and I think it’s going to happen one way or another,” Howard said.\u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue attached to Second Line Vinyl.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue attached to Second Line Vinyl. \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Thomas said Second Line’s brokerage operation is separate from the struggling manufacturing side, and that outstanding orders will be fulfilled. Thomas and Mark Calabro will effectively continue Second Line’s brokerage business with their own company, 16kHz.\u003c/p>\n\u003cp>“For all intents and purposes the orders taken by Second Line are now being managed by Mark and myself,” he said.\u003c/p>\n\u003cp>Also planned were facilities for recording, mixing, mastering and performance, plus an apprenticeship program connected to public schools. Second Line excited Bay Area artists and label operators eager to have a local partner in vinyl manufacturing, an expensive and complicated process often involving lengthy delays as demand for the format continues to grow.\u003c/p>\n\u003cp>Recording Industry Association of America statistics show steady year-over-year vinyl sales growth, which has led to long backlogs at pressing plants. Second Line, which planned to acquire newly-built instead of refurbished presses, promised to prioritize independent artists and short-run clients whose orders are often sidelined by major label projects at larger plants.\u003c/p>\n\u003cp>Second Line would’ve been Oakland’s first large-scale vinyl manufacturer since a Victor factory closed in 1937, and the only such plant in the Bay Area. Pirates Press in Emeryville, the best-known local vinyl business, works with a plant in the Czech Republic.\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "Second Line Vinyl launched less than two years ago with lofty goals. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eagerly-anticipated West Oakland record manufacturer Second Line Vinyl is at risk of losing all of its equipment to a creditor less than two years after announcing ambitious goals to build a venue and recording studio alongside the city’s first vinyl pressing plant since the 1930s, KQED has learned.\u003c/p>\n\u003cp>\u003ca href=\"https://www.secondlinevinyl.com/\">Second Line Vinyl\u003c/a> founder and chief executive Zane Howard confirmed that he’s struggled to attract enough investment to bring the facility into action. “We’re having to wind down,” he said. “I would say the business is in jeopardy just as it was ready to begin pressing.”\u003c/p>\n\u003cp>Lyz Luke, Second Line’s community affairs director, used starker language in an email Saturday to industry contacts. “Our funding has run out and we are going to have to shut down,” she wrote.\u003c/p>\n\u003cp>The business’ main lender, Stockton pencil manufacturer California Cedar Products, has moved to recover the specialized pressing machinery used as collateral. Howard said an auction of the assets, publicly noticed in a local newspaper Monday, has been postponed until next week while he attempts to negotiate with the lender. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Howard valued the equipment at around $300,000, with an additional $100,000 in installation costs.\u003c/p>\n\u003cp>“We don’t know what will happen to the equipment,” he said, adding that he hopes to strike a new deal with California Cedar Products.\u003c/p>\n\u003cp>(KQED has contacted California Cedar Products for comment.)\u003c/p>\n\u003cp>In late 2017, Howard invited media, investors and music industry figures to the 40,000 square foot Mandela Parkway facility and said that, by the end of the next year, six newly built presses capable of producing a million units annually would be up and running.\u003c/p>\n\u003cp>The auction notice lists one combination press, extruder and cutter, and related equipment such as a steam boiler and water cooling tower. But the system isn’t operational. (One problem is difficulties working with Pacific Gas & Electric, which is in bankruptcy proceedings, to upgrade the gas line.) Meanwhile, Second Line has been brokering manufacturing deals with other plants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to Howard, there’s ample demand. Second Line’s brokering revenue for the past 12 months is approximately $500,000, and the company has fielded inquiries from major labels as well as local clients. Still, the business hasn’t raised enough capital, leaving Howard and his team without pay for several months now.\u003c/p>\n\u003cp>“There still needs to be a pressing operation in the Bay Area, and I think it’s going to happen one way or another,” Howard said.\u003c/p>\n\u003cfigure id=\"attachment_13812087\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812087\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg\" alt=\"Artist rendering of the live music venue attached to Second Line Vinyl.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/MPR_Night2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist rendering of the live music venue attached to Second Line Vinyl. \u003ccite>(Courtesy of Second Line Vinyl)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Michael Thomas said Second Line’s brokerage operation is separate from the struggling manufacturing side, and that outstanding orders will be fulfilled. Thomas and Mark Calabro will effectively continue Second Line’s brokerage business with their own company, 16kHz.\u003c/p>\n\u003cp>“For all intents and purposes the orders taken by Second Line are now being managed by Mark and myself,” he said.\u003c/p>\n\u003cp>Also planned were facilities for recording, mixing, mastering and performance, plus an apprenticeship program connected to public schools. Second Line excited Bay Area artists and label operators eager to have a local partner in vinyl manufacturing, an expensive and complicated process often involving lengthy delays as demand for the format continues to grow.\u003c/p>\n\u003cp>Recording Industry Association of America statistics show steady year-over-year vinyl sales growth, which has led to long backlogs at pressing plants. Second Line, which planned to acquire newly-built instead of refurbished presses, promised to prioritize independent artists and short-run clients whose orders are often sidelined by major label projects at larger plants.\u003c/p>\n\u003cp>Second Line would’ve been Oakland’s first large-scale vinyl manufacturer since a Victor factory closed in 1937, and the only such plant in the Bay Area. Pirates Press in Emeryville, the best-known local vinyl business, works with a plant in the Czech Republic.\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "hot-summer-guide-2019-get-outside-in-the-east-bay-this-summer",
"title": "Hot Summer Guide 2019: Get Outside in the East Bay this Summer",
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"content": "\u003cp>East Bay residents seize the summertime to bring culture into the streets and parks, showcasing music, dance and film outdoors in city centers and outlying neighborhoods alike. The events below offer opportunities for entertainment and education rooted in the cultural and even ecological history of the region. Many of these picks are free and family-friendly, and all but one take place outdoors. \u003c/p>\n\u003cfigure id=\"attachment_13856930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg\" alt=\"The Pointer Sisters headline the 2018 edition of Art + Soul.\" width=\"800\" height=\"468\" class=\"size-medium wp-image-13856930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pointer Sisters headline the 2018 edition of Art + Soul. \u003ccite>(Courtesy Pointer Sisters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art + Soul\u003c/h2>\n\u003cp>\u003cem>July 27—28\u003cbr>\nDowntown Oakland\u003cbr>\n\u003ca href=\"https://www.artandsouloakland.com/\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>Art + Soul brings the spirit of Oakland to the heart of the city, with vendors, dancers and musicians sprawling throughout downtown. This year, the city-sponsored festival is headlined by artists yet to be announced. Other stages feature lineups themed around blues, gospel, salsa music and the kinetic or circus arts. As usual, there’s ample family-friendly programming in store, and tickets start at a modest $12 for adults. \u003c/p>\n\u003cfigure id=\"attachment_11722121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg\" alt=\"John Benson performs with his milk-covered drum at Garden of Memory in 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Benson performs with his milk-covered drum at Garden of Memory in 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Garden of Memory\u003c/h2>\n\u003cp>\u003cem>June 21\u003cbr>\nChapel of the Chimes, Oakland\u003cbr>\n\u003ca href=\"http://www.gardenofmemory.com/\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp>This one’s indoors, but there’s plenty of greenery and natural light. On the longest day of the year, the regal, naturally-lit Chapel of the Chimes columbarium erupts with sound as dozens of musicians perform simultaneously for a roaming audience at Garden of Memory. The annual event, which started in 1996, features small chamber groups, solo experimentalists and other ensembles expertly drawn from the local music scene, and culminates with a participatory bell-ringing ceremony to mark the solstice at sunset. \u003c/p>\n\u003cfigure id=\"attachment_13843026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-800x450.jpg\" alt=\"Mistah F.A.B. and Kenzie Smith at Hiero Day 2018.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. and Kenzie Smith at Hiero Day 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hiero Day\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nJack London District, Oakland\u003cbr>\n\u003ca href=\"https://www.hieroday.com/\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The lineup and exact location of this year’s Hiero Day is still to be determined, but the annual Labor Day music festival has become one of the foremost hip-hop events in Oakland. Local rap group Hieroglyphics founded the festival (tickets cost $19.93, a nod to Souls of Mischief’s “‘93 Til Infinity”), and it reliably boasts an impressive lineup of golden-age headliners and emerging locals. Last year featured artists including The Roots’ Black Thought, Mannie Fresh, Guapdad4000, DJ Fresh and Traxamillion, and the festival spread across several blocks in the Jack London District of Oakland. Tickets generally sell out long before the lineup is confirmed. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burger Boogaloo\u003c/h2>\n\u003cp>\u003cem>July 6—7\u003cbr>\nMosswood Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>During the first weekend of July, the Burger Boogaloo turns a disused concrete amphitheater in the corner of Mosswood Park into a riot of color of sound. The music festival, a partnership between Total Trash Productions and Southern California label Burger Records, celebrates the campiness of punk and garage rock, and it’s fittingly hosted by the filmmaker John Waters—a sort of spiritual advisor and patron saint to the scene. Its tenth annual edition will draw thousands to Oakland’s Temescal district for first-wave punk acts such as the Dead Boys, newer groups Sheer Mag and Shannon & the Clams and headliner the Jesus & Mary Chain. \u003c/p>\n\u003cfigure id=\"attachment_13832897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg\" alt=\"DJ Twelvz spins at Lake Merrit for "BBQ'n While Black," a celebration of African-American culture sparked by a white woman's widely lampooned police complaint.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13832897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Twelvz spins at Lake Merrit for “BBQ’n While Black,” a celebration of African-American culture sparked by a white woman’s widely lampooned police complaint.\u003c/figcaption>\u003c/figure>\n\u003ch2>BBQin’ While Black at Lake Merritt\u003c/h2>\n\u003cp>\u003cem>July 21\u003cbr>\nLake Merritt, Oakland\u003cbr>\n\u003ca href=\"https://www.gofundme.com/f/BBQnWhileBlack\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>One afternoon last April, a white woman harassed two black men for grilling at Lake Merritt, and proceeded to call the Oakland Police Department. Cell-phone footage of the incident immortalized the woman online as “#BBQBecky,” and prompted a discussion about race and access to public space amid gentrification in Oakland. It also prompted black Oaklanders to double down on the perceived offense by continuing to grill, week in and week out, at Lake Merritt. This year there’s a fundraiser to support more of the same, on an even grander scale.\u003c/p>\n\u003cfigure id=\"attachment_13856933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg\" alt=\"Port of Oakland, from the Oakland estuary.\" width=\"800\" height=\"518\" class=\"size-medium wp-image-13856933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1200x778.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Port of Oakland, from the Oakland estuary. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waterfront Tours\u003c/h2>\n\u003cp>\u003cem>May 17—August 10\u003c/em> \u003c/p>\n\u003cp>The story of the Oakland waterfront is one of environmental degradation, intercontinental commerce, real-estate squabbles and even armed conflict. Soon, the waterfront will also be a part of the story of the Oakland A’s, when the baseball team erects a new stadium at Howard Terminal. This summer there are two ways to explore the waterfront by boat: Free harbor tours sponsored by the \u003ca href=\"https://jacklondonsquare.com/event/Free-Harbor-Tours/2145525184/\">Port of Oakland\u003c/a> on a Blue & Gold Fleet vessel, and $45 tours organized by local historian Liam O’Donoghue of the \u003ca href=\"https://eastbayyesterday.com/journey-through-centuries-of-waterfront-history/\">East Bay Yesterday\u003c/a> podcast. Tickets for the latter tour, which launches on an Emeryville fishing boat, are mostly sold out, so check for additional dates.\u003c/p>\n\u003cfigure id=\"attachment_11283312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg\" alt=\"Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11283312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus. \u003ccite>(Courtesy Diller Scofidio + Renfro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Outdoor Rock ‘n’ Roll Film Screenings at Berkeley Art Museum\u003c/h2>\n\u003cp>\u003cem>June 13—August 8\u003cbr>\nBerkeley Art Museum and Pacific Film Archives, Berkeley\u003cbr>\nMore information \u003c/em>\u003c/p>\n\u003cp>Since reopening in downtown Berkeley, the Berkeley Art Museum and Pacific Film Archive has organized a free, outdoor summer cinema series on its massive LED screen at the corner of Addison and Oxford streets. This year, as part of a broader rock ‘n’ roll-themed film program, the museum is screening several classics: \u003cem>Stop Making Sense\u003c/em>, the 1984 Talking Heads concert film by Jonathan Demme; a British Invasion double-feature of \u003cem>A Hard Day’s Night\u003c/em> and \u003cem>Charlie is My Darling\u003c/em>; and a Bay Area counterculture pairing of \u003cem>Monterey Pop\u003c/em> and \u003cem>Jimi Plays Berkeley\u003c/em>. A pop-up stand operated by Babette, the BAMPFA cafe, will offer moviegoers refreshments. \u003c/p>\n\u003cfigure id=\"attachment_13825652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1-800x533.jpg\" alt=\"A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Juneteenth in Berkeley and Richmond\u003c/h2>\n\u003cp>\u003cem>June 15—16\u003cbr>\nAlcatraz-Adeline corridor in \u003ca href=\"http://www.berkeleyjuneteenth.org/\">Berkeley\u003c/a> and Nicholl Park in \u003ca href=\"https://www.ci.richmond.ca.us/427/Festivals\">Richmond\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On June 19, 1865, a regiment of Union soldiers arrived in Galveston, Texas with news that the Civil War was over, and slavery was officially abolished in the United States. Today the event is marked in cities nationwide by Juneteenth, a celebration of black culture and heritage. Berkeley’s festival, which launched in 1987, brings first-rate performers and food, along with historical exhibits and health screenings, to the Alcatraz-Adeline corridor for free. One day earlier in Richmond, meanwhile, a parade orbits the family-friendly festival in Nicholl Park. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Our picks for music, dance, film and more outdoors and in the streets this summer in the East Bay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>East Bay residents seize the summertime to bring culture into the streets and parks, showcasing music, dance and film outdoors in city centers and outlying neighborhoods alike. The events below offer opportunities for entertainment and education rooted in the cultural and even ecological history of the region. Many of these picks are free and family-friendly, and all but one take place outdoors. \u003c/p>\n\u003cfigure id=\"attachment_13856930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg\" alt=\"The Pointer Sisters headline the 2018 edition of Art + Soul.\" width=\"800\" height=\"468\" class=\"size-medium wp-image-13856930\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ruthissasadako.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pointer Sisters headline the 2018 edition of Art + Soul. \u003ccite>(Courtesy Pointer Sisters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art + Soul\u003c/h2>\n\u003cp>\u003cem>July 27—28\u003cbr>\nDowntown Oakland\u003cbr>\n\u003ca href=\"https://www.artandsouloakland.com/\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>Art + Soul brings the spirit of Oakland to the heart of the city, with vendors, dancers and musicians sprawling throughout downtown. This year, the city-sponsored festival is headlined by artists yet to be announced. Other stages feature lineups themed around blues, gospel, salsa music and the kinetic or circus arts. As usual, there’s ample family-friendly programming in store, and tickets start at a modest $12 for adults. \u003c/p>\n\u003cfigure id=\"attachment_11722121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg\" alt=\"John Benson performs with his milk-covered drum at Garden of Memory in 2016.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11722121\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Garden.JohnBenson.MAIN_-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Benson performs with his milk-covered drum at Garden of Memory in 2016. \u003ccite>(Kristin Shaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Garden of Memory\u003c/h2>\n\u003cp>\u003cem>June 21\u003cbr>\nChapel of the Chimes, Oakland\u003cbr>\n\u003ca href=\"http://www.gardenofmemory.com/\">More information \u003c/a>\u003c/em>\u003c/p>\n\u003cp>This one’s indoors, but there’s plenty of greenery and natural light. On the longest day of the year, the regal, naturally-lit Chapel of the Chimes columbarium erupts with sound as dozens of musicians perform simultaneously for a roaming audience at Garden of Memory. The annual event, which started in 1996, features small chamber groups, solo experimentalists and other ensembles expertly drawn from the local music scene, and culminates with a participatory bell-ringing ceremony to mark the solstice at sunset. \u003c/p>\n\u003cfigure id=\"attachment_13843026\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-800x450.jpg\" alt=\"Mistah F.A.B. and Kenzie Smith at Hiero Day 2018.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/mistah-fab-kenzie-hiero-day-2018-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B. and Kenzie Smith at Hiero Day 2018. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hiero Day\u003c/h2>\n\u003cp>\u003cem>Sept. 2\u003cbr>\nJack London District, Oakland\u003cbr>\n\u003ca href=\"https://www.hieroday.com/\">More information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The lineup and exact location of this year’s Hiero Day is still to be determined, but the annual Labor Day music festival has become one of the foremost hip-hop events in Oakland. Local rap group Hieroglyphics founded the festival (tickets cost $19.93, a nod to Souls of Mischief’s “‘93 Til Infinity”), and it reliably boasts an impressive lineup of golden-age headliners and emerging locals. Last year featured artists including The Roots’ Black Thought, Mannie Fresh, Guapdad4000, DJ Fresh and Traxamillion, and the festival spread across several blocks in the Jack London District of Oakland. Tickets generally sell out long before the lineup is confirmed. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_11316316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg\" alt=\"John Waters at Burger Boogaloo 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11316316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/JW.MAIN_.jpg 913w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">John Waters at Burger Boogaloo 2015. \u003ccite>(Wild About You Photography)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Burger Boogaloo\u003c/h2>\n\u003cp>\u003cem>July 6—7\u003cbr>\nMosswood Park, Oakland\u003cbr>\n\u003ca href=\"http://burgerboogaloo.com/\">More Information\u003c/a>\u003c/em>\u003c/p>\n\u003cp>During the first weekend of July, the Burger Boogaloo turns a disused concrete amphitheater in the corner of Mosswood Park into a riot of color of sound. The music festival, a partnership between Total Trash Productions and Southern California label Burger Records, celebrates the campiness of punk and garage rock, and it’s fittingly hosted by the filmmaker John Waters—a sort of spiritual advisor and patron saint to the scene. Its tenth annual edition will draw thousands to Oakland’s Temescal district for first-wave punk acts such as the Dead Boys, newer groups Sheer Mag and Shannon & the Clams and headliner the Jesus & Mary Chain. \u003c/p>\n\u003cfigure id=\"attachment_13832897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg\" alt=\"DJ Twelvz spins at Lake Merrit for "BBQ'n While Black," a celebration of African-American culture sparked by a white woman's widely lampooned police complaint.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13832897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/703A5122-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Twelvz spins at Lake Merrit for “BBQ’n While Black,” a celebration of African-American culture sparked by a white woman’s widely lampooned police complaint.\u003c/figcaption>\u003c/figure>\n\u003ch2>BBQin’ While Black at Lake Merritt\u003c/h2>\n\u003cp>\u003cem>July 21\u003cbr>\nLake Merritt, Oakland\u003cbr>\n\u003ca href=\"https://www.gofundme.com/f/BBQnWhileBlack\">More information\u003c/a>\u003c/em> \u003c/p>\n\u003cp>One afternoon last April, a white woman harassed two black men for grilling at Lake Merritt, and proceeded to call the Oakland Police Department. Cell-phone footage of the incident immortalized the woman online as “#BBQBecky,” and prompted a discussion about race and access to public space amid gentrification in Oakland. It also prompted black Oaklanders to double down on the perceived offense by continuing to grill, week in and week out, at Lake Merritt. This year there’s a fundraiser to support more of the same, on an even grander scale.\u003c/p>\n\u003cfigure id=\"attachment_13856933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg\" alt=\"Port of Oakland, from the Oakland estuary.\" width=\"800\" height=\"518\" class=\"size-medium wp-image-13856933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-800x518.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-768x498.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1020x661.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933-1200x778.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/8587826505_6377441764_o-1440x933.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Port of Oakland, from the Oakland estuary. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Waterfront Tours\u003c/h2>\n\u003cp>\u003cem>May 17—August 10\u003c/em> \u003c/p>\n\u003cp>The story of the Oakland waterfront is one of environmental degradation, intercontinental commerce, real-estate squabbles and even armed conflict. Soon, the waterfront will also be a part of the story of the Oakland A’s, when the baseball team erects a new stadium at Howard Terminal. This summer there are two ways to explore the waterfront by boat: Free harbor tours sponsored by the \u003ca href=\"https://jacklondonsquare.com/event/Free-Harbor-Tours/2145525184/\">Port of Oakland\u003c/a> on a Blue & Gold Fleet vessel, and $45 tours organized by local historian Liam O’Donoghue of the \u003ca href=\"https://eastbayyesterday.com/journey-through-centuries-of-waterfront-history/\">East Bay Yesterday\u003c/a> podcast. Tickets for the latter tour, which launches on an Emeryville fishing boat, are mostly sold out, so check for additional dates.\u003c/p>\n\u003cfigure id=\"attachment_11283312\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg\" alt=\"Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11283312\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/01/BAMPFA-DSR-16-01-4786_A.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diller Scofidio + Renfro, UC Berkeley Art Museum and Pacific Film Archive, 2016; Aerial view from the UC Berkeley Campus. \u003ccite>(Courtesy Diller Scofidio + Renfro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Outdoor Rock ‘n’ Roll Film Screenings at Berkeley Art Museum\u003c/h2>\n\u003cp>\u003cem>June 13—August 8\u003cbr>\nBerkeley Art Museum and Pacific Film Archives, Berkeley\u003cbr>\nMore information \u003c/em>\u003c/p>\n\u003cp>Since reopening in downtown Berkeley, the Berkeley Art Museum and Pacific Film Archive has organized a free, outdoor summer cinema series on its massive LED screen at the corner of Addison and Oxford streets. This year, as part of a broader rock ‘n’ roll-themed film program, the museum is screening several classics: \u003cem>Stop Making Sense\u003c/em>, the 1984 Talking Heads concert film by Jonathan Demme; a British Invasion double-feature of \u003cem>A Hard Day’s Night\u003c/em> and \u003cem>Charlie is My Darling\u003c/em>; and a Bay Area counterculture pairing of \u003cem>Monterey Pop\u003c/em> and \u003cem>Jimi Plays Berkeley\u003c/em>. A pop-up stand operated by Babette, the BAMPFA cafe, will offer moviegoers refreshments. \u003c/p>\n\u003cfigure id=\"attachment_13825652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/1-800x533.jpg\" alt=\"A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13825652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young lady rides a horse, as a member of the Black Cowboys chaperones her, at a Juneteenth festival in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Juneteenth in Berkeley and Richmond\u003c/h2>\n\u003cp>\u003cem>June 15—16\u003cbr>\nAlcatraz-Adeline corridor in \u003ca href=\"http://www.berkeleyjuneteenth.org/\">Berkeley\u003c/a> and Nicholl Park in \u003ca href=\"https://www.ci.richmond.ca.us/427/Festivals\">Richmond\u003c/a>\u003c/em>\u003c/p>\n\u003cp>On June 19, 1865, a regiment of Union soldiers arrived in Galveston, Texas with news that the Civil War was over, and slavery was officially abolished in the United States. Today the event is marked in cities nationwide by Juneteenth, a celebration of black culture and heritage. Berkeley’s festival, which launched in 1987, brings first-rate performers and food, along with historical exhibits and health screenings, to the Alcatraz-Adeline corridor for free. One day earlier in Richmond, meanwhile, a parade orbits the family-friendly festival in Nicholl Park. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The story of the Oakland waterfront is one of environmental degradation, intercontinental commerce, real-estate squabbles and even armed conflict. Soon, the waterfront will also be a part of the story of the Oakland A’s, when the baseball team erects a new stadium at Howard Terminal. This summer there are two ways to explore the waterfront by boat: Free harbor tours sponsored by the \u003ca href=\"https://jacklondonsquare.com/event/Free-Harbor-Tours/2145525184/\">Port of Oakland\u003c/a> on a Blue & Gold Fleet vessel, and $45 tours organized by local historian Liam O’Donoghue of the East Bay Yesterday podcast. Tickets for the latter tour, which launches on an Emeryville fishing boat, are mostly sold out, so check for additional dates.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Art + Soul brings the spirit of Oakland to the heart of the city, with vendors, dancers and musicians sprawling throughout downtown. This year, the city-sponsored festival is headlined by Grammy Award winners Fantastic Negrito and Estelle. Other stages feature lineups themed around blues, gospel, salsa music and the kinetic or circus arts. As usual, there’s ample family-friendly programming in store, and tickets start at a modest $12 for adults.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Art + Soul brings the spirit of Oakland to the heart of the city, with vendors, dancers and musicians sprawling throughout downtown. This year, the city-sponsored festival is headlined by Grammy Award winners Fantastic Negrito and Estelle. Other stages feature lineups themed around blues, gospel, salsa music and the kinetic or circus arts. As usual, there’s ample family-friendly programming in store, and tickets start at a modest $12 for adults.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "meet-darren-powell-the-skateboard-re-innovator-of-east-oakland",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> get it: tech companies are moving to Oakland. But you can’t tell me “innovation” is coming to town. It’s been here. Man, I grew up watching folks make backpacks out of shoestrings and cereal boxes. On top of being functional, they made it look cool.\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>Sure, having backing from a big venture capital firm is respectable and all, but you ever have nothing and needed something? And then use that need to fuel your creative process? And then have your invention turn heads?\u003c/p>\n\u003cp>While there are studies that say \u003ca href=\"https://qz.com/1120131/as-cities-become-more-innovative-they-also-become-more-unequal/\">innovation accelerates inequality\u003c/a>, I’m a firm believer of the inverse: that non-traditional forms of creativity are innate within lower- and working-class folks, especially black folks.\u003c/p>\n\u003cp>Every post-industrial urban American city currently being gutted and refurbished has been home to innovative people. But Oakland, in particular, has a thing about modifying its transportation: from \u003ca href=\"https://www.youtube.com/watch?v=C4QMffMAwAU\" rel=\"noopener\" target=\"_blank\">whistle tips\u003c/a> on car exhaust pipes to shiny wheels on \u003ca href=\"https://www.kqed.org/arts/11447684/video-meet-east-oaklands-scraper-bike-team\" rel=\"noopener\" target=\"_blank\">scraper bikes\u003c/a>, this town has a knack for recreating the wheel.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\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\">W\u003c/span>hen Larry Stevenson invented the skateboard in 1963, he could never have foreseen someone taking his piece of wood attached to four wheels and remixing it to look like a mini Mercedes Maybach automobile—complete with a slappin’-ass sound system and fully functioning pop-up TV screens. But Darren Powell has done that.\u003c/p>\n\u003cp>You might’ve seen one of his creations around town or in Droop-E & E40’s \u003ca href=\"https://youtu.be/fDUTa_Pi5Cc?t=103\">“Give Me a Light” music video.\u003c/a> Or maybe you’ve seen him on social media, where there’s plenty videos of Powell floating around town on his futuristic skateboards. “\u003ca href=\"https://twitter.com/AlexinOak/status/1032607756086206466\">There is no place like Oakland\u003c/a>,” one post says.\u003c/p>\n\u003cp>https://twitter.com/AlexinOak/status/1032607756086206466\u003c/p>\n\u003cp>Beyond their cool-looking exterior, Powell’s creation caught my eye for crisscrossing some significant storylines of the day: the current price of gas, complaints about \u003ca href=\"https://thebolditalic.com/oaklands-potholes-a-symbol-of-the-town-s-neighborhood-disparity-4de61413908a\">potholes in Oakland\u003c/a>, the development of \u003ca href=\"https://sf.streetsblog.org/2018/10/09/eyes-on-the-street-oaklands-new-dot-builds-some-sweet-protected-bikeways/\">citywide bike lanes\u003c/a> and, of course, the discussion about tech coming to town.\u003c/p>\n\u003cp>It also reaffirmed what I already knew: that in the shadow of whatever Silicon Valley has going on, the application of technology and innovation is something that’s been in the hood since day one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Powell is a middle-aged African American man with cornrows who lives in East Oakland. When he welcomed me into his home, wearing a Kaepernick jersey, he walked me past a showroom-slash-storage room of perfectly lined up skateboards, some battery-powered and some manual. All colorful. A Batman logo on a Batmobile looking board, and the wrapping from \u003cem>Soul Plane\u003c/em> on another. Powell handed me a ginger root beer, gutted a cigarillo and started with his origin story.\u003c/p>\n\u003cp>Professionally, Powell does architectural design. He says he’s always been a do-it-yourselfer. And his earliest memories of creating come from his brother.\u003c/p>\n\u003cp>“My older brother Quincy, he was the inventor as a kid,” Powell said, leaning up against the kitchen counter and using scissors to break down some weed. “I ended up being the inventor and he ended up going to the pen.”\u003c/p>\n\u003cp>Powell, who was raised in East Palo Alto (or “Scrilla-Con Valley,” as he calls it), said his older brother could make anything out of anything. “He’d gut my sister’s dolls and put a motor in them,” he said. But the real inspiration for Powell’s work came from the 1992 movie \u003cem>Freejack,\u003c/em> starring Emilio Estevez, Rene Russo and Mick Jagger.\u003c/p>\n\u003cp>In the movie, Mick Jagger’s character time-travels to kidnap Emilio Estevez’s character, and brings him to an old dude played by Anthony Hopkins who wants his consciousness downloaded onto a much younger and healthy body.\u003c/p>\n\u003cp>This idea inspired the name of Powell’s company, Free Jac Nation.\u003c/p>\n\u003cp>“Freejacking is when you take something and flip it, and take it to the next level,” said Powell.\u003c/p>\n\u003cp>“So, with skateboards, I freejacked it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857312\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\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\">P\u003c/span>owell first freejacked a vest with translucent pockets, tailored to hold cell phones in the front and tablets on the back. His next invention was a Bluetooth-enabled skateboard.\u003c/p>\n\u003cp>“And then I said, I want to make this skateboard that’s shaped like a car,” said Powell, taking a pull from his blunt has he talked.\u003c/p>\n\u003cp>To make his boards, Powell uses PVC, some plastic and an original mold that he made and patented. He then sends it to a company that stretches the PVC material, and the individual boards are made.\u003c/p>\n\u003cp>“It’s like Build-a-Bear workshop,” said Powell, passing me the herb. “You can order whatever color stickers, and I’ll custom make it, regular or electric…the other part is this: it comes in a kit.”\u003c/p>\n\u003cp>I exhaled and then asked: does that mean people can make their own skateboards?\u003c/p>\n\u003cp>“Yeah,” Powell exclaimed. “The hobby shops are going to love me!”\u003c/p>\n\u003cp>The DIY boards are the lower-end skateboards; he has some that are fully custom made and cost a bit more. Powell told me his skateboards go from $99 to $19,000.\u003c/p>\n\u003cp>Of the pricier skateboards, Powell said, “those are custom, there’s a lot of work that goes into them. I call myself the Chanel bag of skateboards. If you buy Jordans, you’ll buy my skateboards. If you buy a Gucci backpack, you’ll buy my skateboards—and you’ll take care of them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\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\">P\u003c/span>owell has yet to sell any of the high-end boards, but that may change soon. He’s been in contact with Lil Wayne about them, Snoop Dogg has posted one on social media, and he has E-40’s signature on a Slurricane-themed board. He’s working to get Rick Ross to sign his Maybach one.\u003c/p>\n\u003cp>Meanwhile, he’s sold over a dozen lower-end models and counting. Some of his battery-powered skateboards, which are controlled by handheld remotes, have dual battery packs. He told me the top speed he’s hit is around 25 mph, on his Volkswagen Bus modeled board, which has two motors.\u003c/p>\n\u003cp>I damn near blew his high when I asked if he’s fallen off of his board before. “Potholes!” Powell said, as if identifying the enemy. “You’ve got to really look out, my eyes are always on the move: potholes, doors, everyone else,” said Powell. (One time he fell, “I just popped off the goddamn skateboard and was cussing at these damn Oakland streets. Man, these are some raggedy-ass streets. But they’re starting to get better.”)\u003c/p>\n\u003cp>Powell’s a fan of the developing system of citywide bike lanes, and sees the need for changes to the traffic system in Oakland. He lives just blocks from where Alma Soraya Vasquez, and her 6 year-old son Angel Garcia-Vasquez were killed during a \u003ca href=\"https://www.nbcbayarea.com/news/local/Mother-and-7-Year-Old-Son-Dead-After-Hit-and-Run-Collision-508557251.html\">hit-and-run\u003c/a> accident last month.\u003c/p>\n\u003cp>Powell’s creations are just another push for alternative modes of transportation in the urban arena, an addition to the \u003ca href=\"https://www.kqed.org/pop/103762/electric-scooters-are-changing-the-fabric-of-society-says-twitter\" rel=\"noopener\" target=\"_blank\">flood of electric scooters\u003c/a> and the forthcoming \u003ca href=\"http://www.actransit.org/brt/\" rel=\"noopener\" target=\"_blank\">high-speed bus lines\u003c/a>. Those are clear signs that “technology” is coming to Oakland. Powell’s creations are a sign that innovation has been here.\u003c/p>\n\u003cp>Powell’s just getting started—again, he hasn’t sold a single high-end board. But that doesn’t phase him. “If there’s ever a skateboard hall of fame, I might just donate them,” Powell told me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I looked it up, and there is a \u003ca href=\"http://www.skateboardinghalloffame.org/\" rel=\"noopener\" target=\"_blank\">Skateboarding Hall of Fame and Museum\u003c/a> in Southern California. But I hope he doesn’t donate his creations. I’d much rather see Rick Ross riding one in a video.\u003c/p>\n\n",
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"title": "Meet Darren Powell, the Skateboard Re-Innovator of East Oakland | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> get it: tech companies are moving to Oakland. But you can’t tell me “innovation” is coming to town. It’s been here. Man, I grew up watching folks make backpacks out of shoestrings and cereal boxes. On top of being functional, they made it look cool.\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>Sure, having backing from a big venture capital firm is respectable and all, but you ever have nothing and needed something? And then use that need to fuel your creative process? And then have your invention turn heads?\u003c/p>\n\u003cp>While there are studies that say \u003ca href=\"https://qz.com/1120131/as-cities-become-more-innovative-they-also-become-more-unequal/\">innovation accelerates inequality\u003c/a>, I’m a firm believer of the inverse: that non-traditional forms of creativity are innate within lower- and working-class folks, especially black folks.\u003c/p>\n\u003cp>Every post-industrial urban American city currently being gutted and refurbished has been home to innovative people. But Oakland, in particular, has a thing about modifying its transportation: from \u003ca href=\"https://www.youtube.com/watch?v=C4QMffMAwAU\" rel=\"noopener\" target=\"_blank\">whistle tips\u003c/a> on car exhaust pipes to shiny wheels on \u003ca href=\"https://www.kqed.org/arts/11447684/video-meet-east-oaklands-scraper-bike-team\" rel=\"noopener\" target=\"_blank\">scraper bikes\u003c/a>, this town has a knack for recreating the wheel.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4511.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\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\">W\u003c/span>hen Larry Stevenson invented the skateboard in 1963, he could never have foreseen someone taking his piece of wood attached to four wheels and remixing it to look like a mini Mercedes Maybach automobile—complete with a slappin’-ass sound system and fully functioning pop-up TV screens. But Darren Powell has done that.\u003c/p>\n\u003cp>You might’ve seen one of his creations around town or in Droop-E & E40’s \u003ca href=\"https://youtu.be/fDUTa_Pi5Cc?t=103\">“Give Me a Light” music video.\u003c/a> Or maybe you’ve seen him on social media, where there’s plenty videos of Powell floating around town on his futuristic skateboards. “\u003ca href=\"https://twitter.com/AlexinOak/status/1032607756086206466\">There is no place like Oakland\u003c/a>,” one post says.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Beyond their cool-looking exterior, Powell’s creation caught my eye for crisscrossing some significant storylines of the day: the current price of gas, complaints about \u003ca href=\"https://thebolditalic.com/oaklands-potholes-a-symbol-of-the-town-s-neighborhood-disparity-4de61413908a\">potholes in Oakland\u003c/a>, the development of \u003ca href=\"https://sf.streetsblog.org/2018/10/09/eyes-on-the-street-oaklands-new-dot-builds-some-sweet-protected-bikeways/\">citywide bike lanes\u003c/a> and, of course, the discussion about tech coming to town.\u003c/p>\n\u003cp>It also reaffirmed what I already knew: that in the shadow of whatever Silicon Valley has going on, the application of technology and innovation is something that’s been in the hood since day one.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4510.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Powell is a middle-aged African American man with cornrows who lives in East Oakland. When he welcomed me into his home, wearing a Kaepernick jersey, he walked me past a showroom-slash-storage room of perfectly lined up skateboards, some battery-powered and some manual. All colorful. A Batman logo on a Batmobile looking board, and the wrapping from \u003cem>Soul Plane\u003c/em> on another. Powell handed me a ginger root beer, gutted a cigarillo and started with his origin story.\u003c/p>\n\u003cp>Professionally, Powell does architectural design. He says he’s always been a do-it-yourselfer. And his earliest memories of creating come from his brother.\u003c/p>\n\u003cp>“My older brother Quincy, he was the inventor as a kid,” Powell said, leaning up against the kitchen counter and using scissors to break down some weed. “I ended up being the inventor and he ended up going to the pen.”\u003c/p>\n\u003cp>Powell, who was raised in East Palo Alto (or “Scrilla-Con Valley,” as he calls it), said his older brother could make anything out of anything. “He’d gut my sister’s dolls and put a motor in them,” he said. But the real inspiration for Powell’s work came from the 1992 movie \u003cem>Freejack,\u003c/em> starring Emilio Estevez, Rene Russo and Mick Jagger.\u003c/p>\n\u003cp>In the movie, Mick Jagger’s character time-travels to kidnap Emilio Estevez’s character, and brings him to an old dude played by Anthony Hopkins who wants his consciousness downloaded onto a much younger and healthy body.\u003c/p>\n\u003cp>This idea inspired the name of Powell’s company, Free Jac Nation.\u003c/p>\n\u003cp>“Freejacking is when you take something and flip it, and take it to the next level,” said Powell.\u003c/p>\n\u003cp>“So, with skateboards, I freejacked it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857312\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4499.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\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\">P\u003c/span>owell first freejacked a vest with translucent pockets, tailored to hold cell phones in the front and tablets on the back. His next invention was a Bluetooth-enabled skateboard.\u003c/p>\n\u003cp>“And then I said, I want to make this skateboard that’s shaped like a car,” said Powell, taking a pull from his blunt has he talked.\u003c/p>\n\u003cp>To make his boards, Powell uses PVC, some plastic and an original mold that he made and patented. He then sends it to a company that stretches the PVC material, and the individual boards are made.\u003c/p>\n\u003cp>“It’s like Build-a-Bear workshop,” said Powell, passing me the herb. “You can order whatever color stickers, and I’ll custom make it, regular or electric…the other part is this: it comes in a kit.”\u003c/p>\n\u003cp>I exhaled and then asked: does that mean people can make their own skateboards?\u003c/p>\n\u003cp>“Yeah,” Powell exclaimed. “The hobby shops are going to love me!”\u003c/p>\n\u003cp>The DIY boards are the lower-end skateboards; he has some that are fully custom made and cost a bit more. Powell told me his skateboards go from $99 to $19,000.\u003c/p>\n\u003cp>Of the pricier skateboards, Powell said, “those are custom, there’s a lot of work that goes into them. I call myself the Chanel bag of skateboards. If you buy Jordans, you’ll buy my skateboards. If you buy a Gucci backpack, you’ll buy my skateboards—and you’ll take care of them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-13857313\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg\" alt=\"\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/LRG__DSC4495.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\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\">P\u003c/span>owell has yet to sell any of the high-end boards, but that may change soon. He’s been in contact with Lil Wayne about them, Snoop Dogg has posted one on social media, and he has E-40’s signature on a Slurricane-themed board. He’s working to get Rick Ross to sign his Maybach one.\u003c/p>\n\u003cp>Meanwhile, he’s sold over a dozen lower-end models and counting. Some of his battery-powered skateboards, which are controlled by handheld remotes, have dual battery packs. He told me the top speed he’s hit is around 25 mph, on his Volkswagen Bus modeled board, which has two motors.\u003c/p>\n\u003cp>I damn near blew his high when I asked if he’s fallen off of his board before. “Potholes!” Powell said, as if identifying the enemy. “You’ve got to really look out, my eyes are always on the move: potholes, doors, everyone else,” said Powell. (One time he fell, “I just popped off the goddamn skateboard and was cussing at these damn Oakland streets. Man, these are some raggedy-ass streets. But they’re starting to get better.”)\u003c/p>\n\u003cp>Powell’s a fan of the developing system of citywide bike lanes, and sees the need for changes to the traffic system in Oakland. He lives just blocks from where Alma Soraya Vasquez, and her 6 year-old son Angel Garcia-Vasquez were killed during a \u003ca href=\"https://www.nbcbayarea.com/news/local/Mother-and-7-Year-Old-Son-Dead-After-Hit-and-Run-Collision-508557251.html\">hit-and-run\u003c/a> accident last month.\u003c/p>\n\u003cp>Powell’s creations are just another push for alternative modes of transportation in the urban arena, an addition to the \u003ca href=\"https://www.kqed.org/pop/103762/electric-scooters-are-changing-the-fabric-of-society-says-twitter\" rel=\"noopener\" target=\"_blank\">flood of electric scooters\u003c/a> and the forthcoming \u003ca href=\"http://www.actransit.org/brt/\" rel=\"noopener\" target=\"_blank\">high-speed bus lines\u003c/a>. Those are clear signs that “technology” is coming to Oakland. Powell’s creations are a sign that innovation has been here.\u003c/p>\n\u003cp>Powell’s just getting started—again, he hasn’t sold a single high-end board. But that doesn’t phase him. “If there’s ever a skateboard hall of fame, I might just donate them,” Powell told me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I looked it up, and there is a \u003ca href=\"http://www.skateboardinghalloffame.org/\" rel=\"noopener\" target=\"_blank\">Skateboarding Hall of Fame and Museum\u003c/a> in Southern California. But I hope he doesn’t donate his creations. I’d much rather see Rick Ross riding one in a video.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "theyre-walking-all-over-us-construction-disrupts-artists-with-disabilities-in-oakland",
"title": "'They're Walking All Over Us': Construction Disrupts Artists with Disabilities in Oakland",
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"headTitle": "‘They’re Walking All Over Us’: Construction Disrupts Artists with Disabilities in Oakland | KQED",
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"content": "\u003cp>On Wednesday, April 24, Matt Dostal was working at Creative Growth, the Oakland art studio and gallery for people with disabilities, when a supervisor from the adjacent construction site visited to say the sidewalk and planters alongside the building would be demolished on Monday.\u003c/p>\n\u003cp>Dostal, the nonprofit’s studio manager, was incensed. He helped hand-lay the brick planters six years ago, and said the succulent garden provides therapeutic respite for Creative Growth artist-clients, many of whom sweep or relax in the rustic outcrop. Suddenly, it was to be destroyed within days.\u003c/p>\n\u003cp>“This was put to me as if they’re doing us a favor with the new sidewalk,” Dostal said.\u003c/p>\n\u003cp>The news prompted Creative Growth’s executive director, Elizabeth Brodersen, to write the contractor for Trammell Crow Residential, which is developing the six-story, 234-unit Alexan Webster apartment building next door, and say that the organization was prepared to take legal action.\u003c/p>\n\u003cfigure id=\"attachment_13857382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-800x450.jpg\" alt=\"Dozens of East Bay Paratransit buses service Creative Growth daily.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Dozens of East Bay Paratransit buses service Creative Growth daily. \u003ccite>(KQED/Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The builder’s superintendent replied to Brodersen that the planter was actually slated to remain, saying in an email that there “must be some confusion” and apologizing for knowing “very little about Creative Growth other than it is an art studio[.]”\u003c/p>\n\u003cp>To Dostal and Creative Growth leadership, it was only the latest example of developers so eager to remake the neighborhood that they’re trampling what’s already there. They say construction has damaged the building, caused interior flooding, disrupted public programming and reduced accessibility for disabled clients.\u003c/p>\n\u003cp>“We serve a vulnerable population whose voices and needs are often marginalized,” said Brodersen, the organization’s executive director since February. “We want respect and communication for the sake of the people who come to make art in a safe haven.”\u003c/p>\n\u003cp>“Of course there’s been the building damage, the wear and tear,” said Jane Timberlake, president of the board of directors. “But now that it’s affecting our artists, we really need to draw the line.”\u003c/p>\n\u003cfigure id=\"attachment_13857388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-800x450.jpg\" alt=\"Creative Growth studio manager Matt Dostal complained of unexpected street closures reducing accessibility for Creative Growth clients.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Creative Growth studio manager Matt Dostal complained of unexpected street closures reducing accessibility for Creative Growth clients. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Noise, Flooding and Closures\u003c/h2>\n\u003cp>Founded in 1974 and in its current location since 1980, \u003ca href=\"http://www.creativegrowth.org/category/news/\">Creative Growth\u003c/a> has played a critical role in promoting artwork by people with disabilities, courting collectors and acclaim for artists such as \u003ca href=\"http://www.creativegrowth.org/artists/william-tyler/\" rel=\"noopener\" target=\"_blank\">William Tyler\u003c/a> and \u003ca href=\"https://www.newyorker.com/magazine/2014/12/01/wrap-star\" rel=\"noopener\" target=\"_blank\">Judith Scott\u003c/a>. (In \u003ca href=\"https://www.nytimes.com/2015/12/20/magazine/a-training-ground-for-untrained-artists.html\" rel=\"noopener\" target=\"_blank\">a 2015 feature story\u003c/a>, the \u003cem>New York Times\u003c/em> reported on the center’s “startling track record.”) The nonprofit has repeatedly rejected offers to buy its two-story building, and today stands as one of the largest arts organizations in Oakland.\u003c/p>\n\u003cp>Now, within a square block of the center at \u003ca href=\"https://www.google.com/maps/place/24th+St+%26+Valdez+St,+Oakland,+CA+94612/@37.8131511,-122.263988,3a,75y,242.01h,96.95t/data=!3m6!1e1!3m4!1s1jFtiU5v9wuOZTnD-pLG5Q!2e0!7i16384!8i8192!4m5!3m4!1s0x808f875318584e3d:0x31ab37087a661d5b!8m2!3d37.8131231!4d-122.2638258\" rel=\"noopener\" target=\"_blank\">24th & Valdez streets\u003c/a>, which serves roughly 100 people daily, more than 1,000 housing units are under construction in the newly dubbed “Broadway-Valdez District.” As a result, according to leadership, building damage has caused flooding, and its roof is being used for construction staging without permission.\u003c/p>\n\u003cp>Unexpected street closures also impact the dozens of East Bay Paratransit buses bringing developmentally and physically disabled artists to Creative Growth, and construction and utilities vehicles often block the loading zone. Due to the obstacles, the gallery ceased public openings during First Friday, the popular art walk and street fair, and foot traffic has declined overall.\u003c/p>\n\u003cp>Pete Salsman, a multimedia artist who comes to Creative Growth five days a week via East Bay Paratransit, said he’s noticed the construction disturb his peers. “The smell, the dust, the noise—I take these things out,” he said, pointing to his hearing aids, “and I can still feel the vibrations.”\u003c/p>\n\u003cp>Salsman added of the nearby construction, “I’d like to move into one of the apartments, but $2,700 is out of my price range.”\u003c/p>\n\u003cfigure id=\"attachment_13857381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857381\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-800x450.jpg\" alt=\"Valdez Street seen from the rooftop of Creative Growth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Valdez Street seen from the rooftop of Creative Growth. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Interrupting Routine\u003c/h2>\n\u003cp>According to Dostal, the developers and contractors operating nearby don’t appreciate the sensitivity of Creative Growth’s clientele. People with developmental disabilities thrive on structure and support. Lately, though, there’s less consistency to paratransit comings and goings, let alone whether or not a sidewalk will be navigable by someone in a wheelchair.\u003c/p>\n\u003cp>Dostal said that for someone with a seizure disorder, for example, the frequent jackhammering is more than a nuisance—it’s dangerous. (Staff often hand out earplugs.) And he’s rarely notified of construction activity. “If you’re stressed out, you’re more likely to lash out at the artist next to you, and it starts to erode the really important sense of community here,” he added.\u003c/p>\n\u003cp>One afternoon recently, Valdez Street was closed entirely, and 24th Street was closed to eastbound traffic. The day before, Dostal recalled, the driver of a construction vehicle idling in Creative Growth’s loading zone wouldn’t say what job site he was servicing. Once again, Dostal didn’t know where to complain. “I’m supposed to be managing the studio, not the curb,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13857383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-800x450.jpg\" alt=\"Underlying the conflict between Creative Growth and the developers is an aesthetic and cultural rift.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Underlying the conflict between Creative Growth and the developers is an aesthetic and cultural rift. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diagonally across the intersection from Creative Growth is the seven-story, 255-unit Hanover Northgate, a nearly complete “luxury apartments” complex; and on the other side of Valdez St. is the six-story, 196-unit Alta Waverly, another nearly complete, self-described “luxury apartments” development. But the most disruptive project for Creative Growth has been the Alexan Webster.\u003c/p>\n\u003cp>During the excavation phase of construction for the Alexan Webster in 2017, cracks in the walls and concrete floors at Creative Growth spanned the length of the building. And then there was flooding so intense, the organization was forced to close for a day. Becki Couch-Alvarado, Creative Growth’s previous executive director, said Trammell Crow paid for the repairs and lost revenue, and credited the developer for its responsiveness.\u003c/p>\n\u003cp>But as the frame of the building rose, problems persisted. Debris from the job site clogged the rooftop gutters, resulting in more seepage. As recently as Wednesday, Creative Growth’s roof was being used to support construction materials, which Timberlake said the organization did not permit. Staff in the upstairs offices said they’ve heard contractors’ footsteps.\u003c/p>\n\u003cp>“So they’re basically walking all over us,” Timberlake said.\u003c/p>\n\u003cfigure id=\"attachment_13857389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-800x450.jpg\" alt=\"Scaffolding and debris rest on Creative Growth's roof.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Plywood and debris rest on Creative Growth’s roof. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Acknowledging Disruption\u003c/h2>\n\u003cp>In a statement, Trammell Crow contractor Suffolk Construction said workers are not authorized or instructed to use the roof, and that the plywood is protective. The developer also said it earlier discussed the scaffolding with Creative Growth leadership.\u003c/p>\n\u003cp>Bruce Dorfman, senior managing director with Trammell Crow, said in a statement that the developer has worked closely with Creative Growth, for example by acquiring artwork for the incoming apartments and taking responsibility for earlier building damage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We readily acknowledge that construction activities can be disruptive and we try to minimize their impact,” Dorfman said. “However, there are several other adjacent projects that likely have had a greater impact on Creative Growth’s access as we have not been using 24th Street for staging and have had no off-site work in front of their building (other than the mandated sidewalk work).”\u003c/p>\n\u003cp>Creative Growth leadership wants communication and reliable access to its designated loading zone, but it isn’t clear what will resolve the underlying conflict—an aesthetic and cultural rift between Creative Growth, with its asymmetrical succulents and hand-laid masonry, and the neatly landscaped apartments marketed to affluent commuters, which staff likened to an airport.\u003c/p>\n\u003cp>Part of the reason Creative Growth built the garden, recalled Couch-Alvarado, was to discourage drug use on the block.\u003c/p>\n\u003cp>“It’s funny,” she said. “Now our improvements are problems.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, April 24, Matt Dostal was working at Creative Growth, the Oakland art studio and gallery for people with disabilities, when a supervisor from the adjacent construction site visited to say the sidewalk and planters alongside the building would be demolished on Monday.\u003c/p>\n\u003cp>Dostal, the nonprofit’s studio manager, was incensed. He helped hand-lay the brick planters six years ago, and said the succulent garden provides therapeutic respite for Creative Growth artist-clients, many of whom sweep or relax in the rustic outcrop. Suddenly, it was to be destroyed within days.\u003c/p>\n\u003cp>“This was put to me as if they’re doing us a favor with the new sidewalk,” Dostal said.\u003c/p>\n\u003cp>The news prompted Creative Growth’s executive director, Elizabeth Brodersen, to write the contractor for Trammell Crow Residential, which is developing the six-story, 234-unit Alexan Webster apartment building next door, and say that the organization was prepared to take legal action.\u003c/p>\n\u003cfigure id=\"attachment_13857382\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-800x450.jpg\" alt=\"Dozens of East Bay Paratransit buses service Creative Growth daily.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus.-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/A-Creative-Crowth-client-boards-an-East-Bay-Paratransit-bus..jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Dozens of East Bay Paratransit buses service Creative Growth daily. \u003ccite>(KQED/Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The builder’s superintendent replied to Brodersen that the planter was actually slated to remain, saying in an email that there “must be some confusion” and apologizing for knowing “very little about Creative Growth other than it is an art studio[.]”\u003c/p>\n\u003cp>To Dostal and Creative Growth leadership, it was only the latest example of developers so eager to remake the neighborhood that they’re trampling what’s already there. They say construction has damaged the building, caused interior flooding, disrupted public programming and reduced accessibility for disabled clients.\u003c/p>\n\u003cp>“We serve a vulnerable population whose voices and needs are often marginalized,” said Brodersen, the organization’s executive director since February. “We want respect and communication for the sake of the people who come to make art in a safe haven.”\u003c/p>\n\u003cp>“Of course there’s been the building damage, the wear and tear,” said Jane Timberlake, president of the board of directors. “But now that it’s affecting our artists, we really need to draw the line.”\u003c/p>\n\u003cfigure id=\"attachment_13857388\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-800x450.jpg\" alt=\"Creative Growth studio manager Matt Dostal complained of unexpected street closures reducing accessibility for Creative Growth clients.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Matt-Dostal-Creative-Growth-Studio-Manager.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Creative Growth studio manager Matt Dostal complained of unexpected street closures reducing accessibility for Creative Growth clients. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Noise, Flooding and Closures\u003c/h2>\n\u003cp>Founded in 1974 and in its current location since 1980, \u003ca href=\"http://www.creativegrowth.org/category/news/\">Creative Growth\u003c/a> has played a critical role in promoting artwork by people with disabilities, courting collectors and acclaim for artists such as \u003ca href=\"http://www.creativegrowth.org/artists/william-tyler/\" rel=\"noopener\" target=\"_blank\">William Tyler\u003c/a> and \u003ca href=\"https://www.newyorker.com/magazine/2014/12/01/wrap-star\" rel=\"noopener\" target=\"_blank\">Judith Scott\u003c/a>. (In \u003ca href=\"https://www.nytimes.com/2015/12/20/magazine/a-training-ground-for-untrained-artists.html\" rel=\"noopener\" target=\"_blank\">a 2015 feature story\u003c/a>, the \u003cem>New York Times\u003c/em> reported on the center’s “startling track record.”) The nonprofit has repeatedly rejected offers to buy its two-story building, and today stands as one of the largest arts organizations in Oakland.\u003c/p>\n\u003cp>Now, within a square block of the center at \u003ca href=\"https://www.google.com/maps/place/24th+St+%26+Valdez+St,+Oakland,+CA+94612/@37.8131511,-122.263988,3a,75y,242.01h,96.95t/data=!3m6!1e1!3m4!1s1jFtiU5v9wuOZTnD-pLG5Q!2e0!7i16384!8i8192!4m5!3m4!1s0x808f875318584e3d:0x31ab37087a661d5b!8m2!3d37.8131231!4d-122.2638258\" rel=\"noopener\" target=\"_blank\">24th & Valdez streets\u003c/a>, which serves roughly 100 people daily, more than 1,000 housing units are under construction in the newly dubbed “Broadway-Valdez District.” As a result, according to leadership, building damage has caused flooding, and its roof is being used for construction staging without permission.\u003c/p>\n\u003cp>Unexpected street closures also impact the dozens of East Bay Paratransit buses bringing developmentally and physically disabled artists to Creative Growth, and construction and utilities vehicles often block the loading zone. Due to the obstacles, the gallery ceased public openings during First Friday, the popular art walk and street fair, and foot traffic has declined overall.\u003c/p>\n\u003cp>Pete Salsman, a multimedia artist who comes to Creative Growth five days a week via East Bay Paratransit, said he’s noticed the construction disturb his peers. “The smell, the dust, the noise—I take these things out,” he said, pointing to his hearing aids, “and I can still feel the vibrations.”\u003c/p>\n\u003cp>Salsman added of the nearby construction, “I’d like to move into one of the apartments, but $2,700 is out of my price range.”\u003c/p>\n\u003cfigure id=\"attachment_13857381\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857381\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-800x450.jpg\" alt=\"Valdez Street seen from the rooftop of Creative Growth.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Valdez-Street-from-the-roof-of-Creative-Growth.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Valdez Street seen from the rooftop of Creative Growth. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Interrupting Routine\u003c/h2>\n\u003cp>According to Dostal, the developers and contractors operating nearby don’t appreciate the sensitivity of Creative Growth’s clientele. People with developmental disabilities thrive on structure and support. Lately, though, there’s less consistency to paratransit comings and goings, let alone whether or not a sidewalk will be navigable by someone in a wheelchair.\u003c/p>\n\u003cp>Dostal said that for someone with a seizure disorder, for example, the frequent jackhammering is more than a nuisance—it’s dangerous. (Staff often hand out earplugs.) And he’s rarely notified of construction activity. “If you’re stressed out, you’re more likely to lash out at the artist next to you, and it starts to erode the really important sense of community here,” he added.\u003c/p>\n\u003cp>One afternoon recently, Valdez Street was closed entirely, and 24th Street was closed to eastbound traffic. The day before, Dostal recalled, the driver of a construction vehicle idling in Creative Growth’s loading zone wouldn’t say what job site he was servicing. Once again, Dostal didn’t know where to complain. “I’m supposed to be managing the studio, not the curb,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13857383\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-800x450.jpg\" alt=\"Underlying the conflict between Creative Growth and the developers is an aesthetic and cultural rift.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Contractors-tried-to-remove-Creative-Growths-garden.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Underlying the conflict between Creative Growth and the developers is an aesthetic and cultural rift. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diagonally across the intersection from Creative Growth is the seven-story, 255-unit Hanover Northgate, a nearly complete “luxury apartments” complex; and on the other side of Valdez St. is the six-story, 196-unit Alta Waverly, another nearly complete, self-described “luxury apartments” development. But the most disruptive project for Creative Growth has been the Alexan Webster.\u003c/p>\n\u003cp>During the excavation phase of construction for the Alexan Webster in 2017, cracks in the walls and concrete floors at Creative Growth spanned the length of the building. And then there was flooding so intense, the organization was forced to close for a day. Becki Couch-Alvarado, Creative Growth’s previous executive director, said Trammell Crow paid for the repairs and lost revenue, and credited the developer for its responsiveness.\u003c/p>\n\u003cp>But as the frame of the building rose, problems persisted. Debris from the job site clogged the rooftop gutters, resulting in more seepage. As recently as Wednesday, Creative Growth’s roof was being used to support construction materials, which Timberlake said the organization did not permit. Staff in the upstairs offices said they’ve heard contractors’ footsteps.\u003c/p>\n\u003cp>“So they’re basically walking all over us,” Timberlake said.\u003c/p>\n\u003cfigure id=\"attachment_13857389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-800x450.jpg\" alt=\"Scaffolding and debris rest on Creative Growth's roof.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Scaffolding-and-debris-on-Creative-Growth-roof.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Plywood and debris rest on Creative Growth’s roof. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Acknowledging Disruption\u003c/h2>\n\u003cp>In a statement, Trammell Crow contractor Suffolk Construction said workers are not authorized or instructed to use the roof, and that the plywood is protective. The developer also said it earlier discussed the scaffolding with Creative Growth leadership.\u003c/p>\n\u003cp>Bruce Dorfman, senior managing director with Trammell Crow, said in a statement that the developer has worked closely with Creative Growth, for example by acquiring artwork for the incoming apartments and taking responsibility for earlier building damage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We readily acknowledge that construction activities can be disruptive and we try to minimize their impact,” Dorfman said. “However, there are several other adjacent projects that likely have had a greater impact on Creative Growth’s access as we have not been using 24th Street for staging and have had no off-site work in front of their building (other than the mandated sidewalk work).”\u003c/p>\n\u003cp>Creative Growth leadership wants communication and reliable access to its designated loading zone, but it isn’t clear what will resolve the underlying conflict—an aesthetic and cultural rift between Creative Growth, with its asymmetrical succulents and hand-laid masonry, and the neatly landscaped apartments marketed to affluent commuters, which staff likened to an airport.\u003c/p>\n\u003cp>Part of the reason Creative Growth built the garden, recalled Couch-Alvarado, was to discourage drug use on the block.\u003c/p>\n\u003cp>“It’s funny,” she said. “Now our improvements are problems.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I’ve seen Dirty Pesos hoodies and shirts all around town, as well as in music videos. But it took me a while before I realized who the designer was.\u003c/p>\n\u003cp>I don’t recall when it all clicked, but when it did, I was like: \u003cem>Oh! I know Darius Gomez!\u003c/em>\u003c/p>\n\u003cp>I mean, it feels like everyone in the Bay knows Darius Gomez. He’s the son of longtime radio personality and community culture keeper Chuy Gomez. Back in the day, his pops used to bring him on the \u003ca href=\"https://www.youtube.com/watch?v=P50nSukq4jc\" target=\"_blank\" rel=\"noopener\">California Music Channel\u003c/a>, which I used to watch after middle school; I feel like I grew up with Darius.\u003c/p>\n\u003cfigure id=\"attachment_13857506\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-800x600.jpg\" alt=\"Darius Gomez showing his Dirty Pesos patches.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Darius Gomez showing his Dirty Pesos patches. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far removed from the kid some might remember from the TV screen, Darius’ latest move is evidence of his maturation. After starting as an intern at \u003ca href=\"http://agwscreenworks.com/?page_id=29\">AGW Screen works\u003c/a> in San Leandro when he was 19, Darius launched his own clothing brand \u003ca href=\"https://dirtypesosworldwide.com/\">Dirty Pesos Worldwide\u003c/a> just about four years ago. Inspired by other Bay Area brands like \u003ca href=\"https://shmoplife.com/\">Shmoplife\u003c/a> and \u003ca href=\"https://cookiessf.com/\">Cookies SF\u003c/a>, Darius decided to put his ideas to work.\u003c/p>\n\u003cp>“The first two years were slow,” Darius told me when I met up with him in his warehouse, but “as soon as I dropped these hoodies, that’s when things just started flying off the shelf.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now 26, Darius has seen his clothes land on the backs of some the Bay’s top athletes and artists, including L.A. Rams player Marcus Peters and East Oakland rapper ALLBLACK.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this week’s episode of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener\">Rightnowish\u003c/a>, I talked to Darius about his clothing line, what his family thinks about his success and how it feels to have his clothes worn by some of the tightest and brightest out of the Bay Area. To hear our convo, click the link above!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve seen Dirty Pesos hoodies and shirts all around town, as well as in music videos. But it took me a while before I realized who the designer was.\u003c/p>\n\u003cp>I don’t recall when it all clicked, but when it did, I was like: \u003cem>Oh! I know Darius Gomez!\u003c/em>\u003c/p>\n\u003cp>I mean, it feels like everyone in the Bay knows Darius Gomez. He’s the son of longtime radio personality and community culture keeper Chuy Gomez. Back in the day, his pops used to bring him on the \u003ca href=\"https://www.youtube.com/watch?v=P50nSukq4jc\" target=\"_blank\" rel=\"noopener\">California Music Channel\u003c/a>, which I used to watch after middle school; I feel like I grew up with Darius.\u003c/p>\n\u003cfigure id=\"attachment_13857506\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857506\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-800x600.jpg\" alt=\"Darius Gomez showing his Dirty Pesos patches.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/image_from_ios-1-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Darius Gomez showing his Dirty Pesos patches. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Far removed from the kid some might remember from the TV screen, Darius’ latest move is evidence of his maturation. After starting as an intern at \u003ca href=\"http://agwscreenworks.com/?page_id=29\">AGW Screen works\u003c/a> in San Leandro when he was 19, Darius launched his own clothing brand \u003ca href=\"https://dirtypesosworldwide.com/\">Dirty Pesos Worldwide\u003c/a> just about four years ago. Inspired by other Bay Area brands like \u003ca href=\"https://shmoplife.com/\">Shmoplife\u003c/a> and \u003ca href=\"https://cookiessf.com/\">Cookies SF\u003c/a>, Darius decided to put his ideas to work.\u003c/p>\n\u003cp>“The first two years were slow,” Darius told me when I met up with him in his warehouse, but “as soon as I dropped these hoodies, that’s when things just started flying off the shelf.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now 26, Darius has seen his clothes land on the backs of some the Bay’s top athletes and artists, including L.A. Rams player Marcus Peters and East Oakland rapper ALLBLACK.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For this week’s episode of \u003ca href=\"https://www.kqed.org/arts/tag/rightnowish\" target=\"_blank\" rel=\"noopener\">Rightnowish\u003c/a>, I talked to Darius about his clothing line, what his family thinks about his success and how it feels to have his clothes worn by some of the tightest and brightest out of the Bay Area. To hear our convo, click the link above!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>ast week, BART was under fire again, as an \u003ca href=\"https://www.kqed.org/news/11744106/bart-releases-report-with-new-details-of-officers-roles-in-oscar-grant-killing\">investigation into what truly occurred\u003c/a> leading up to the shooting of Oscar Grant by former BART officer Johannes Mehserle on the morning of Jan. 1, 2009 was made public.\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>Meanwhile, in the same week, the culture within BART’s car doors got some shine by Oakland-based rap trio \u003ca href=\"https://www.treycoastal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trey Coastal\u003c/a> as they dropped their single “\u003ca href=\"https://www.youtube.com/watch?v=G_nN5O2EZcE&feature=youtu.be\">End Of The Line\u003c/a>“—an ode to the folks who dance on BART.\u003c/p>\n\u003cp>Granted, the revelations around Grant’s killing and the music video are mostly unrelated. But after reading the news report and then watching the music video, it hit me: BART is essentially one big 121-mile, 1000-volt barometer of the Bay Area’s culture.\u003c/p>\n\u003cp>BART is \u003ca href=\"//www.bart.gov/sites/default/files/docs/2018_BART%20Factsheet.pdf\">a big deal\u003c/a>: 679 trains that take riders from 48 different stations on over 126 million trips annually. Just last year, \u003ca href=\"https://www.kqed.org/news/11689230/assembly-votes-to-send-bart-development-bill-to-governor\">Governor Brown approved a bill\u003c/a> allowing BART to develop land around their stations for higher-density housing. And in 2016, BART got a \u003ca href=\"https://www.bart.gov/news/articles/2016/news20161013\">$3.5 billion bond\u003c/a> through the voter-passed Measure RR, aimed at rebuilding and maintaining key aspects of the system’s infrastructure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Around that same time, BART was found to have an overwhelming amount of \u003ca href=\"https://www.sfgate.com/crime/article/BART-admits-77-percent-of-train-cameras-are-fake-6818459.php\">non-functioning cameras\u003c/a>, which adds to the fear some riders have around safety, especially considering the amount of crime on BART property. Two months ago, a teenage girl was \u003ca href=\"https://www.sfchronicle.com/crime/article/Woman-killed-in-shooting-at-West-Oakland-BART-13726137.php\">shot at West Oakland BART\u003c/a>; in July of last year, a woman was \u003ca href=\"https://www.eastbaytimes.com/2018/07/28/woman-recently-released-from-santa-rita-jail-found-dead-in-dublin-bart/\">killed at Pleasanton BART\u003c/a>; and of course, last year, the heinous \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">murder of Nia Wilson\u003c/a> occurred on a platform at MacArthur BART.\u003c/p>\n\u003cp>Add that to the somewhat comical but obviously classist \u003ca href=\"https://www.youtube.com/watch?v=W2cQlejay3M\">video\u003c/a> of the guy calling the cops on someone for eating on the train, plus news reports about “\u003ca href=\"https://www.youtube.com/watch?v=5gT5NULvRSk\">junkies taking over the Civic Center station\u003c/a>,” and rumors about \u003ca href=\"http://cbslocal.com/2018/02/22/bart-considers-constructing-second-transbay-tube/\">burrowing another Transbay Tube\u003c/a> because the current system is at capacity, and you can see why I say: where BART goes, the Bay goes.\u003c/p>\n\u003cfigure id=\"attachment_13856838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-1020x522.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\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 before last week, I don’t think I’ve ever taken a moment to really appreciate how much BART reflects the Bay as a whole. From the \u003ca href=\"https://eastbaysol.files.wordpress.com/2014/01/evict-this1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1950s photos\u003c/a> of the state taking people’s property under eminent domain to construct West Oakland BART to the \u003ca href=\"https://www.sfchronicle.com/oursf/article/Nixon-s-futuristic-BART-ride-It-does-look-7025172.php#photo-9691143\">photos of President Nixon\u003c/a> riding the newly opened BART in 1972, it’s all a sign of the times. Even BART’s recent expansion into Antioch and Silicon Valley reflects the population growth and lack of affordable housing in traditional city centers.\u003c/p>\n\u003cp>People dressed in wild costumes headed to Bay To Breakers show the Bay Area’s kooky-creative side. The \u003ca href=\"https://www.youtube.com/watch?v=j_2RRapKxeg\">protests that blocked the trains on Black Friday in 2014\u003c/a> show the Bay Area’s strong political will. And although the shooting of Oscar Grant was over 10 years ago, the new revelations around that case illustrate the importance of AB 1421, the police transparency bill.\u003c/p>\n\u003cp>So when I see Trey Coastal’s song dedicated to the dancers who use BART as their stage, I can’t help but also see the significance in something some see as mundane.\u003c/p>\n\u003cp>“That’s what makes it so special,” says Anshil Popli, the director of photography on Trey Coastal’s video. “BART is something that we take every day… dancing is a huge part of that. It’s one of those things we look past every day, but to have that on video makes it special to me.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G_nN5O2EZcE\u003c/p>\n\u003cp>Popli tells me he was blown away at some of the responses he got at certain stops while filming. “I call them ‘white stops’—places where you know you’re going to see an upscale crowd in a changing Oakland. To bring back something that’s so simple, art in its rarest form, is what it’s about,” says Popli. “And the people I thought wouldn’t appreciate the dancing and the music actually did. Man, we live in a strange time. It’s good to see that art alleviates the pain.”\u003c/p>\n\u003cp>For some, BART dancers are artwork. For others, they’re annoying. And to BART officers, dancing for money on BART is illegal.\u003c/p>\n\u003cp>The issues around BART dancers aren’t new. Five years ago, \u003ca href=\"https://postnewsgroup.com/2014/04/25/girl-suspected-dancing-bart-arrested-assaulted-officer/\">Nubia Bowe\u003c/a> was abused and aggressively arrested for reportedly dancing on BART and soliciting money. I’ve personally seen people dancing on BART since the years when base fare was $1.10. It’s part of a long tradition, and part of the larger picture of artists navigating the Bay’s high cost of living.\u003c/p>\n\u003cp>“Dancing on BART been poppin’ since I was in high school,” says “End of the Line” director Noah Coogler. “Every time I look at the video, I think we captured a piece of history.”\u003c/p>\n\u003cp>Coogler, the brother of director Ryan Coogler, says they shot the dance routines in about three hours. “While we were there, I felt like nobody felt off-put… I even saw a couple of white folks give out dubs,” Coogler tells me.\u003c/p>\n\u003cfigure id=\"attachment_13856839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-1020x520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2.jpg 1069w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Phil, one of the dancers in Trey Coastal’s video (as well as several other Bay Area music videos, including KQED’s recently released \u003ca href=\"https://vimeo.com/333239269\">\u003cem>If Cities Could Dance: Oakland\u003c/em>\u003c/a>), tells me the reception on BART is about 50/50. And even with his success in videos, he still regularly gets on trains and performs. “It’s like representing the culture, the underground culture that the Bay has,” he says.\u003c/p>\n\u003cp>Yung Phil also explains that there’s a safety aspect to dancers on BART. “The fact that we dance, it takes people’s minds off of being so tense, or thinking that someone is going to run up and rob them,” he says. (I hadn’t thought about it before, but as people film the dancers, it doubles as a surveillance mechanism.)\u003c/p>\n\u003cp>You can look into a train car on any given day and see the nationalities of the local population, the fashion of the time and even the technology of the age. BART is a microcosm of us, a crystal ball of change: in 2019, AirPods show our attachment to detachment, and cashless tickets show our momentum toward digital currency.\u003c/p>\n\u003cp>That said, there’s also things like Marshawn Lynch and Marcus Peters \u003ca href=\"https://www.youtube.com/watch?v=R_vv7IufrnU\" target=\"_blank\" rel=\"noopener noreferrer\">riding BART back from the Coliseum\u003c/a> after a Thursday night Raiders game. A prime example that it’s possible to keep it lit for the Town, even when the Town is changing.\u003c/p>\n\u003cfigure id=\"attachment_13856841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-1020x524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/IMG_0640.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">a photo\u003c/a> of Trey Coastal in Oakland, sitting on a BART platform. The image has become a special one: it was captured by \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\">Shawn Washington\u003c/a>, a friend of the crew and talented photographer from the Bay. Washington \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently passed\u003c/a>, and now the photo is a snapshot of the group’s moment in time with their friend.\u003c/p>\n\u003cp>Cam Moss, one-third of the Trey Coastal crew, tells me that the intention behind “End Of The Line” is to exude Bay Area pride. When asked about BART dancing seen a nuisance, Moss says that the dancers are “young cats that are out here, expressing themselves and not harming you in any way. This art. This is the same thing as going to museum and seeing a painting.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Adds Moss: “Some people may look down on public transportation, but that’s really where it all starts.”\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\">L\u003c/span>ast week, BART was under fire again, as an \u003ca href=\"https://www.kqed.org/news/11744106/bart-releases-report-with-new-details-of-officers-roles-in-oscar-grant-killing\">investigation into what truly occurred\u003c/a> leading up to the shooting of Oscar Grant by former BART officer Johannes Mehserle on the morning of Jan. 1, 2009 was made public.\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>Meanwhile, in the same week, the culture within BART’s car doors got some shine by Oakland-based rap trio \u003ca href=\"https://www.treycoastal.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Trey Coastal\u003c/a> as they dropped their single “\u003ca href=\"https://www.youtube.com/watch?v=G_nN5O2EZcE&feature=youtu.be\">End Of The Line\u003c/a>“—an ode to the folks who dance on BART.\u003c/p>\n\u003cp>Granted, the revelations around Grant’s killing and the music video are mostly unrelated. But after reading the news report and then watching the music video, it hit me: BART is essentially one big 121-mile, 1000-volt barometer of the Bay Area’s culture.\u003c/p>\n\u003cp>BART is \u003ca href=\"//www.bart.gov/sites/default/files/docs/2018_BART%20Factsheet.pdf\">a big deal\u003c/a>: 679 trains that take riders from 48 different stations on over 126 million trips annually. Just last year, \u003ca href=\"https://www.kqed.org/news/11689230/assembly-votes-to-send-bart-development-bill-to-governor\">Governor Brown approved a bill\u003c/a> allowing BART to develop land around their stations for higher-density housing. And in 2016, BART got a \u003ca href=\"https://www.bart.gov/news/articles/2016/news20161013\">$3.5 billion bond\u003c/a> through the voter-passed Measure RR, aimed at rebuilding and maintaining key aspects of the system’s infrastructure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Around that same time, BART was found to have an overwhelming amount of \u003ca href=\"https://www.sfgate.com/crime/article/BART-admits-77-percent-of-train-cameras-are-fake-6818459.php\">non-functioning cameras\u003c/a>, which adds to the fear some riders have around safety, especially considering the amount of crime on BART property. Two months ago, a teenage girl was \u003ca href=\"https://www.sfchronicle.com/crime/article/Woman-killed-in-shooting-at-West-Oakland-BART-13726137.php\">shot at West Oakland BART\u003c/a>; in July of last year, a woman was \u003ca href=\"https://www.eastbaytimes.com/2018/07/28/woman-recently-released-from-santa-rita-jail-found-dead-in-dublin-bart/\">killed at Pleasanton BART\u003c/a>; and of course, last year, the heinous \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\">murder of Nia Wilson\u003c/a> occurred on a platform at MacArthur BART.\u003c/p>\n\u003cp>Add that to the somewhat comical but obviously classist \u003ca href=\"https://www.youtube.com/watch?v=W2cQlejay3M\">video\u003c/a> of the guy calling the cops on someone for eating on the train, plus news reports about “\u003ca href=\"https://www.youtube.com/watch?v=5gT5NULvRSk\">junkies taking over the Civic Center station\u003c/a>,” and rumors about \u003ca href=\"http://cbslocal.com/2018/02/22/bart-considers-constructing-second-transbay-tube/\">burrowing another Transbay Tube\u003c/a> because the current system is at capacity, and you can see why I say: where BART goes, the Bay goes.\u003c/p>\n\u003cfigure id=\"attachment_13856838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-800x409.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-768x393.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1-1020x522.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers1.jpg 1065w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\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 before last week, I don’t think I’ve ever taken a moment to really appreciate how much BART reflects the Bay as a whole. From the \u003ca href=\"https://eastbaysol.files.wordpress.com/2014/01/evict-this1.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1950s photos\u003c/a> of the state taking people’s property under eminent domain to construct West Oakland BART to the \u003ca href=\"https://www.sfchronicle.com/oursf/article/Nixon-s-futuristic-BART-ride-It-does-look-7025172.php#photo-9691143\">photos of President Nixon\u003c/a> riding the newly opened BART in 1972, it’s all a sign of the times. Even BART’s recent expansion into Antioch and Silicon Valley reflects the population growth and lack of affordable housing in traditional city centers.\u003c/p>\n\u003cp>People dressed in wild costumes headed to Bay To Breakers show the Bay Area’s kooky-creative side. The \u003ca href=\"https://www.youtube.com/watch?v=j_2RRapKxeg\">protests that blocked the trains on Black Friday in 2014\u003c/a> show the Bay Area’s strong political will. And although the shooting of Oscar Grant was over 10 years ago, the new revelations around that case illustrate the importance of AB 1421, the police transparency bill.\u003c/p>\n\u003cp>So when I see Trey Coastal’s song dedicated to the dancers who use BART as their stage, I can’t help but also see the significance in something some see as mundane.\u003c/p>\n\u003cp>“That’s what makes it so special,” says Anshil Popli, the director of photography on Trey Coastal’s video. “BART is something that we take every day… dancing is a huge part of that. It’s one of those things we look past every day, but to have that on video makes it special to me.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/G_nN5O2EZcE'\n title='//www.youtube.com/embed/G_nN5O2EZcE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Popli tells me he was blown away at some of the responses he got at certain stops while filming. “I call them ‘white stops’—places where you know you’re going to see an upscale crowd in a changing Oakland. To bring back something that’s so simple, art in its rarest form, is what it’s about,” says Popli. “And the people I thought wouldn’t appreciate the dancing and the music actually did. Man, we live in a strange time. It’s good to see that art alleviates the pain.”\u003c/p>\n\u003cp>For some, BART dancers are artwork. For others, they’re annoying. And to BART officers, dancing for money on BART is illegal.\u003c/p>\n\u003cp>The issues around BART dancers aren’t new. Five years ago, \u003ca href=\"https://postnewsgroup.com/2014/04/25/girl-suspected-dancing-bart-arrested-assaulted-officer/\">Nubia Bowe\u003c/a> was abused and aggressively arrested for reportedly dancing on BART and soliciting money. I’ve personally seen people dancing on BART since the years when base fare was $1.10. It’s part of a long tradition, and part of the larger picture of artists navigating the Bay’s high cost of living.\u003c/p>\n\u003cp>“Dancing on BART been poppin’ since I was in high school,” says “End of the Line” director Noah Coogler. “Every time I look at the video, I think we captured a piece of history.”\u003c/p>\n\u003cp>Coogler, the brother of director Ryan Coogler, says they shot the dance routines in about three hours. “While we were there, I felt like nobody felt off-put… I even saw a couple of white folks give out dubs,” Coogler tells me.\u003c/p>\n\u003cfigure id=\"attachment_13856839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-800x408.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-768x392.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2-1020x520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers2.jpg 1069w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yung Phil, one of the dancers in Trey Coastal’s video (as well as several other Bay Area music videos, including KQED’s recently released \u003ca href=\"https://vimeo.com/333239269\">\u003cem>If Cities Could Dance: Oakland\u003c/em>\u003c/a>), tells me the reception on BART is about 50/50. And even with his success in videos, he still regularly gets on trains and performs. “It’s like representing the culture, the underground culture that the Bay has,” he says.\u003c/p>\n\u003cp>Yung Phil also explains that there’s a safety aspect to dancers on BART. “The fact that we dance, it takes people’s minds off of being so tense, or thinking that someone is going to run up and rob them,” he says. (I hadn’t thought about it before, but as people film the dancers, it doubles as a surveillance mechanism.)\u003c/p>\n\u003cp>You can look into a train car on any given day and see the nationalities of the local population, the fashion of the time and even the technology of the age. BART is a microcosm of us, a crystal ball of change: in 2019, AirPods show our attachment to detachment, and cashless tickets show our momentum toward digital currency.\u003c/p>\n\u003cp>That said, there’s also things like Marshawn Lynch and Marcus Peters \u003ca href=\"https://www.youtube.com/watch?v=R_vv7IufrnU\" target=\"_blank\" rel=\"noopener noreferrer\">riding BART back from the Coliseum\u003c/a> after a Thursday night Raiders game. A prime example that it’s possible to keep it lit for the Town, even when the Town is changing.\u003c/p>\n\u003cfigure id=\"attachment_13856841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg\" alt=\"A still from Trey Coastal's 'End of the Line' video.\" width=\"800\" height=\"411\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4-1020x524.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/BARTDancers4.jpg 1064w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A still from Trey Coastal’s ‘End of the Line’ video. \u003ccite>(Director: Noah Coogler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/IMG_0640.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">a photo\u003c/a> of Trey Coastal in Oakland, sitting on a BART platform. The image has become a special one: it was captured by \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\">Shawn Washington\u003c/a>, a friend of the crew and talented photographer from the Bay. Washington \u003ca href=\"https://www.mercedsunstar.com/sports/article229958344.html\" target=\"_blank\" rel=\"noopener noreferrer\">recently passed\u003c/a>, and now the photo is a snapshot of the group’s moment in time with their friend.\u003c/p>\n\u003cp>Cam Moss, one-third of the Trey Coastal crew, tells me that the intention behind “End Of The Line” is to exude Bay Area pride. When asked about BART dancing seen a nuisance, Moss says that the dancers are “young cats that are out here, expressing themselves and not harming you in any way. This art. This is the same thing as going to museum and seeing a painting.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Adds Moss: “Some people may look down on public transportation, but that’s really where it all starts.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "from-oakland-high-to-silicon-valley-y-combinators-dominique-fines",
"title": "From Oakland High to Silicon Valley: Y Combinator's Domonique Fines",
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"headTitle": "From Oakland High to Silicon Valley: Y Combinator’s Domonique Fines | KQED",
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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\">A\u003c/span>s I write this, Domonique Fines is concluding a month’s worth of vacation time. She’s earned it. Fines is the Director of Events at Y Combinator, which means she coordinates gatherings all around the world for one of the top startup accelerators behind some well-known tech companies. Not too bad for a woman who graduated from Oakland High School.\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>About a month ago, I talked to Fines in a fully furnished futuristic-looking trailer parked just outside of Y Combinator’s Demo Day, where people presented startup ideas of all sorts to try and secure seed funding.\u003c/p>\n\u003cp>The trailer, which Fines had ordered as a place for women to breastfeed, was vacant at the time; it served as the perfect place to talk with her and her mentee, Maada Thomas. “I don’t think he had any clue the level of events that I do,” Fines said, looking at Thomas and discussing the first time they met, during a recruitment tour Fines headed near her alma mater of Clark Atlanta University.\u003c/p>\n\u003cp>“I had no clue who she was,” said Thomas. “Bro, you’re really not understanding. My mind was just blown. Like, you know that moment where an angel comes and swoops down on you, and is like, ‘Yep, you’re the chosen one. Let’s go!'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I laughed and asked Thomas, “Did you expect your angel to look like Dom?” Thomas’ eyes bulged, his smile widened and his voice got loud. “What? It’s lit! It’s lit. Are you serious?”\u003c/p>\n\u003cfigure id=\"attachment_13856298\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856298 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/IMG_5395-800x535.jpg\" alt=\"Dom Fines and Maada Thomas\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dom Fines and Maada Thomas. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ines, an African American woman in her 30s, is a lover of fly shoes, sports and music. A Taurus, she’s a self-described balanced thinker—meaning she uses both her left brain and right brain equally. Add to that the fact she’s an Oakland public school grad and an HBCU alum, and she isn’t your typical “techie.”\u003c/p>\n\u003cp>Beyond race, gender and education, she’s evidently really good at her job, based on the immediate fruits of her labor: a major event in San Francisco, where amongst many other notables, Joe Montana was casually walking around. But the kicker came when we stepped out of the trailer, and I saw Fines interact with folks; she was quarterbacking the whole show.\u003c/p>\n\u003cp>In the collage of people sporting crushed Khakis, AirPods and Patagonia vests, Fines moved without a problem among the 1,500–2,000 people on hand at Demo Day, an annual event that she’s done six times over. Fines never planned on becoming a “tech worker”; she initially went to school to be a lawyer, but dropped out one week before starting law school at Emory University.\u003c/p>\n\u003cp>She returned to the Bay Area to manage the family business, the Me Lounge in Hayward. “Then I used that experience to apply for event jobs,” said Fines. “But I got denied, I counted: 486 times.”\u003c/p>\n\u003cp>Through those numerous applications, her name began to circulate. She told me how she finally got a job offer, but for a mediocre role, so she turned it down.\u003c/p>\n\u003cp>Weeks later, when she got a call from Y Combinator, she didn’t think it was real. “Who? What? Huh? How’d you get my number?” Fines recalled asking herself, during the call. She put two and two together: Y Combinator had been referred to her by the company that she turned down.\u003c/p>\n\u003cp>“So yeah, that’s how it happened,” said Fines. “I would’ve never known. They don’t even post roles like this. You can’t apply for this.”\u003c/p>\n\u003cp>I asked about her mentors. “Did you have that angel who looked like you?” I wondered.\u003c/p>\n\u003cp>“No. I just knew that I wanted to do this,” Fines replied.\u003c/p>\n\u003cfigure id=\"attachment_13856299\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856299 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/IMG_5396-800x535.jpg\" alt=\"Dominique Fines and Y Combinator CEO Michael Siebel\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Domonique Fines and Y Combinator CEO Michael Siebel. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>ven if you have a flip phone and still communicate via fax, you’ve probably heard about the gender and racial disparities in the tech industry. Reports show that only \u003ca href=\"https://smallbiztrends.com/2018/03/women-in-technology-statistics.html\">20% of the workforce\u003c/a> is comprised of women, and when they are hired, \u003ca href=\"https://www.vox.com/2019/4/2/18290482/gender-wage-tech-economy-hired\" target=\"_blank\" rel=\"noopener\">they’re offered less money\u003c/a>. The disparities grow in leadership positions, especially within venture capital firms. For black women, the numbers only get worse: according to \u003ca href=\"https://www.cnet.com/news/tech-leaving-behind-women-of-color/\">a 2018 study by the Kapor Center\u003c/a>, “When it comes to tech leadership positions… black women make up less than 0.5 percent.”\u003c/p>\n\u003cp>Y Combinator is continually striving to do something about that disparity. Of their \u003ca href=\"https://blog.ycombinator.com/yc-winter-2019-batch-stats/\">2019 cadre of applicants\u003c/a> for funding, 13% of the companies’ founders are individual women, and 6% of the founders are individual African Americans (individual as opposed to one member of a team identifying as either female or black). It’s a small shift, but it gives context to the importance of Fines’ position.\u003c/p>\n\u003cp>There’s some who might argue Fines isn’t a coder or engineer, so she’s not really “in tech.” But Fines’ job, orchestrating events, provides a platform for purposeful interactions that lead to the production of the next big idea; she’s a gatekeeper to the tech world. With that position, unfortunately, comes the institutional racism and sexism that’s present in the rest of the world, but only more concentrated.\u003c/p>\n\u003cp>When I asked how she deals with the double-whammy of being a woman and African American, I saw boardroom Domonique Fines come out. “Good question,” Fines said before locking in. “I don’t deal with it. I chase it.” Fines continued, “It’s not something I have to do. I think there’s a lot of things I had to \u003cem>deal\u003c/em> with before I got here. But now I’m in the role that I want to be in, I don’t have to \u003cem>deal\u003c/em> with anything.”\u003c/p>\n\u003cp>This mindset isn’t anything new: Fines tells me that, as an elementary school student at St. Jarlath, she once got in trouble for being too assertive. Now, far removed from that prepubescent experience, she’s in a position to call shots.\u003c/p>\n\u003cp>Fines told me that Y Combinator CEO Michael Seibel recently asked her about her next career step. “I told Michael, ‘Yeah I want to work with Beyoncé,'” she said.\u003c/p>\n\u003cp>Fines says Seibel replied, “How do you know Beyoncé shouldn’t be working for you?”\u003c/p>\n\u003cfigure id=\"attachment_13856314\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-800x532.png\" alt=\"The Y Combinator Demo Day 2019 team\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-1200x798.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM.png 1826w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Y Combinator Demo Day 2019 team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fines represents a story that needs to be told, about overcoming an archaic system that wasn’t set up for her to win. A public school student who found her way into the tech world after over 400 attempts. An African American woman who created her own lane in an industry where it’s rare to see people like her behind the wheel, organizing tech events around the world, putting on for younger HBCU students and taking month-long vacations in celebration.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Jared Friedman, a partner at Y Combinator, told me outside the trailer at Demo Day: “If Dom was a religion, I would convert.”\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\">A\u003c/span>s I write this, Domonique Fines is concluding a month’s worth of vacation time. She’s earned it. Fines is the Director of Events at Y Combinator, which means she coordinates gatherings all around the world for one of the top startup accelerators behind some well-known tech companies. Not too bad for a woman who graduated from Oakland High School.\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>About a month ago, I talked to Fines in a fully furnished futuristic-looking trailer parked just outside of Y Combinator’s Demo Day, where people presented startup ideas of all sorts to try and secure seed funding.\u003c/p>\n\u003cp>The trailer, which Fines had ordered as a place for women to breastfeed, was vacant at the time; it served as the perfect place to talk with her and her mentee, Maada Thomas. “I don’t think he had any clue the level of events that I do,” Fines said, looking at Thomas and discussing the first time they met, during a recruitment tour Fines headed near her alma mater of Clark Atlanta University.\u003c/p>\n\u003cp>“I had no clue who she was,” said Thomas. “Bro, you’re really not understanding. My mind was just blown. Like, you know that moment where an angel comes and swoops down on you, and is like, ‘Yep, you’re the chosen one. Let’s go!'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I laughed and asked Thomas, “Did you expect your angel to look like Dom?” Thomas’ eyes bulged, his smile widened and his voice got loud. “What? It’s lit! It’s lit. Are you serious?”\u003c/p>\n\u003cfigure id=\"attachment_13856298\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856298 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/IMG_5395-800x535.jpg\" alt=\"Dom Fines and Maada Thomas\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5395.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dom Fines and Maada Thomas. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>ines, an African American woman in her 30s, is a lover of fly shoes, sports and music. A Taurus, she’s a self-described balanced thinker—meaning she uses both her left brain and right brain equally. Add to that the fact she’s an Oakland public school grad and an HBCU alum, and she isn’t your typical “techie.”\u003c/p>\n\u003cp>Beyond race, gender and education, she’s evidently really good at her job, based on the immediate fruits of her labor: a major event in San Francisco, where amongst many other notables, Joe Montana was casually walking around. But the kicker came when we stepped out of the trailer, and I saw Fines interact with folks; she was quarterbacking the whole show.\u003c/p>\n\u003cp>In the collage of people sporting crushed Khakis, AirPods and Patagonia vests, Fines moved without a problem among the 1,500–2,000 people on hand at Demo Day, an annual event that she’s done six times over. Fines never planned on becoming a “tech worker”; she initially went to school to be a lawyer, but dropped out one week before starting law school at Emory University.\u003c/p>\n\u003cp>She returned to the Bay Area to manage the family business, the Me Lounge in Hayward. “Then I used that experience to apply for event jobs,” said Fines. “But I got denied, I counted: 486 times.”\u003c/p>\n\u003cp>Through those numerous applications, her name began to circulate. She told me how she finally got a job offer, but for a mediocre role, so she turned it down.\u003c/p>\n\u003cp>Weeks later, when she got a call from Y Combinator, she didn’t think it was real. “Who? What? Huh? How’d you get my number?” Fines recalled asking herself, during the call. She put two and two together: Y Combinator had been referred to her by the company that she turned down.\u003c/p>\n\u003cp>“So yeah, that’s how it happened,” said Fines. “I would’ve never known. They don’t even post roles like this. You can’t apply for this.”\u003c/p>\n\u003cp>I asked about her mentors. “Did you have that angel who looked like you?” I wondered.\u003c/p>\n\u003cp>“No. I just knew that I wanted to do this,” Fines replied.\u003c/p>\n\u003cfigure id=\"attachment_13856299\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856299 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/IMG_5396-800x535.jpg\" alt=\"Dominique Fines and Y Combinator CEO Michael Siebel\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/IMG_5396.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Domonique Fines and Y Combinator CEO Michael Siebel. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>ven if you have a flip phone and still communicate via fax, you’ve probably heard about the gender and racial disparities in the tech industry. Reports show that only \u003ca href=\"https://smallbiztrends.com/2018/03/women-in-technology-statistics.html\">20% of the workforce\u003c/a> is comprised of women, and when they are hired, \u003ca href=\"https://www.vox.com/2019/4/2/18290482/gender-wage-tech-economy-hired\" target=\"_blank\" rel=\"noopener\">they’re offered less money\u003c/a>. The disparities grow in leadership positions, especially within venture capital firms. For black women, the numbers only get worse: according to \u003ca href=\"https://www.cnet.com/news/tech-leaving-behind-women-of-color/\">a 2018 study by the Kapor Center\u003c/a>, “When it comes to tech leadership positions… black women make up less than 0.5 percent.”\u003c/p>\n\u003cp>Y Combinator is continually striving to do something about that disparity. Of their \u003ca href=\"https://blog.ycombinator.com/yc-winter-2019-batch-stats/\">2019 cadre of applicants\u003c/a> for funding, 13% of the companies’ founders are individual women, and 6% of the founders are individual African Americans (individual as opposed to one member of a team identifying as either female or black). It’s a small shift, but it gives context to the importance of Fines’ position.\u003c/p>\n\u003cp>There’s some who might argue Fines isn’t a coder or engineer, so she’s not really “in tech.” But Fines’ job, orchestrating events, provides a platform for purposeful interactions that lead to the production of the next big idea; she’s a gatekeeper to the tech world. With that position, unfortunately, comes the institutional racism and sexism that’s present in the rest of the world, but only more concentrated.\u003c/p>\n\u003cp>When I asked how she deals with the double-whammy of being a woman and African American, I saw boardroom Domonique Fines come out. “Good question,” Fines said before locking in. “I don’t deal with it. I chase it.” Fines continued, “It’s not something I have to do. I think there’s a lot of things I had to \u003cem>deal\u003c/em> with before I got here. But now I’m in the role that I want to be in, I don’t have to \u003cem>deal\u003c/em> with anything.”\u003c/p>\n\u003cp>This mindset isn’t anything new: Fines tells me that, as an elementary school student at St. Jarlath, she once got in trouble for being too assertive. Now, far removed from that prepubescent experience, she’s in a position to call shots.\u003c/p>\n\u003cp>Fines told me that Y Combinator CEO Michael Seibel recently asked her about her next career step. “I told Michael, ‘Yeah I want to work with Beyoncé,'” she said.\u003c/p>\n\u003cp>Fines says Seibel replied, “How do you know Beyoncé shouldn’t be working for you?”\u003c/p>\n\u003cfigure id=\"attachment_13856314\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856314\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-800x532.png\" alt=\"The Y Combinator Demo Day 2019 team\" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-768x511.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM-1200x798.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Screen-Shot-2019-04-30-at-1.44.04-PM.png 1826w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Y Combinator Demo Day 2019 team. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fines represents a story that needs to be told, about overcoming an archaic system that wasn’t set up for her to win. A public school student who found her way into the tech world after over 400 attempts. An African American woman who created her own lane in an industry where it’s rare to see people like her behind the wheel, organizing tech events around the world, putting on for younger HBCU students and taking month-long vacations in celebration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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