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"content": "\u003cp>Eight years ago, Lonnie Lee opened Vessel Gallery with a solo exhibition by Oakland sculptor Cyrus Tilton. Next month, she’ll close her Oakland gallery–a fixture of \u003ca href=\"https://oaklandartmurmur.org/\" rel=\"noopener\" target=\"_blank\">Oakland Art Murmur\u003c/a>—with a show by the same artist. “The first was \u003cem>A Place In-Between\u003c/em>,” she said, sitting behind a tower of art books in the renovated loft on 25th Street. “The last is called \u003cem>Elsewhere\u003c/em>.\u003c/p>\n\u003cp>“That was accidental.” \u003c/p>\n\u003cp>Lee’s rent has increased more than 70 percent since 2010, and, with her current lease set to expire, she feared another costly hike. Instead, the landlord outright declined to renew. Through a property management company, owner Matthew Iglehart told Lee in late September that he wants to take his buildings in “another direction”—a chilling message for Uptown galleries composing a key node of First Fridays and Oakland Art Murmur. \u003c/p>\n\u003cp>In addition to Vessel, Iglehart and his family own the 25th St. properties housing several art spaces, including SLATE Contemporary, FM Gallery, Roscoe Ceramic Gallery, Manna Gallery, The Wall Gallery, Local Language and Mercury 20, public records show. Iglehart also owns the New Parkway Theater on 26th Street.\u003c/p>\n\u003cfigure id=\"attachment_13843958\" 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/Vessel.Exterior-800x482.jpg\" alt=\"The outside of Vessel Gallery on 25th Street in Oakland.\" width=\"800\" height=\"482\" class=\"size-medium wp-image-13843958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-1200x723.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-1180x711.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-960x579.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The outside of Vessel Gallery on 25th Street in Oakland. \u003ccite>(via Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iglehart declined to be interviewed for this story or to elaborate on his new direction, writing in an email to KQED that he is still “interested in supporting creative people and business in Oakland.” Lee, however, said Vessel’s ouster signals a shift away from the arts and towards the housing and commercial development that the arts helped hasten and attract. “You do the deduction,” she said. “Spaces like these don’t yield for the square footage anymore.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lee, 54, also faulted city officials for touting the area’s cultural vibrancy without building security for gallery businesses, which are struggling to compete against redevelopment proposals and higher-earning tenants as demand for commercial space intensifies in Oakland. Beginning in 2014, Lee and neighbors agitated for formally anointing the area a Cultural Arts District, only to find the humble resolution scuttled entirely. \u003c/p>\n\u003cp>The Uptown Arts District resolution would’ve increased galleries’ eligibility for grants, and asked city planners to consider neighborhood cultural assets in decision-making. Lee, working with stakeholders and elected officials, revised the resolution more than 30 times. In late 2016 it was scheduled for Oakland City Council subcommittee consideration, but ultimately removed from the agenda. “The resolution got whittled down to just \u003cem>naming\u003c/em> the district, but they wouldn’t hear it,” Lee said. “All we wanted was some protection.”\u003c/p>\n\u003cfigure id=\"attachment_13843960\" 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/Vessel.Lee_.Desk_-800x533.jpg\" alt=\"Lonnie Lee at her desk in Vessel Gallery. The landlord for the building in Oaklan'ds Uptown neighborhood has declined to renew Vessel Gallery's lease.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13843960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Lee at her desk in Vessel Gallery. The landlord for the building in Oaklan’ds Uptown neighborhood has declined to renew Vessel Gallery’s lease. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vessel artist David Burke echoed Lee in comments about the gallery’s closure posted online. “The leaders of our city have made it clear that while they support the idea of Oakland being a haven for visual and performing artists and the spaces we occupy, they are not willing to create enough protections for our community in way of affordable housing and spaces that make it possible for this type of work to continue,” he wrote.\u003c/p>\n\u003cp>Lee relocated \u003ca href=\"https://www.vessel-gallery.com/\">Vessel\u003c/a> from Berkeley to 25th St. in 2010, after spending months transforming the former horse livery’s hayloft into an attractive 5,000 square foot exhibition space. Her neighbors included now-defunct art spaces such as 21 Grand. Oakland Art Murmur, the gallery crawl founded in 2006, had yet to splinter into the now-separately-run street festival known as First Fridays. “Chandra Cerrito had just opened, and Johansson Projects was already here,” she recalled. “It was modest, but bustling and focused.” \u003c/p>\n\u003cp>Lee, a trained painter, stands apart from many gallerists in Oakland. She prefers solo and two-person exhibitions to group shows, and Vessel’s contemporary fare skews abstract and challenging but rarely trendy. “I am not a hobbyist,” she said. “This is full-time.” She represents more than 30 artists, and tries to show work by each of them at least once a year. “I ask artists how they’ve arrived at a style, what they’ve done away with,” she said, paging through one of two Tilton art books published by Vessel. “The narrative is key.” \u003c/p>\n\u003cp>Lee styles Vessel as a platform for a maturing Oakland art scene, a museum-bound underground. She cultivates collectors, and helps artists snare grants and sales. Six of the artists she represents derive their income from their practice. Tilton, who died of cancer last year at the age of 39, had little profile before linking with Lee. \u003cem>Lovers\u003c/em>, a sculpture from his 2011 Vessel show, now lives in the permanent collection at Sacramento’s Crocker Art Museum, which recently staged his first major museum exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13843959\" 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/Vessel.Interior-800x585.jpg\" alt=\"The interior of Vessel Gallery.\" width=\"800\" height=\"585\" class=\"size-medium wp-image-13843959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-960x702.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-520x380.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of Vessel Gallery. \u003ccite>(Courtesy Vessel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tilton’s \u003cem>Elsewhere\u003c/em> and Sanjay Vora’s \u003cem>Together and Apart\u003c/em> open Friday, Nov. 2, and Vessel closes permanently at its current location Nov. 17. (It’s currently holding a \u003ca href=\"https://www.vessel-gallery.com/moving-sale-1/\">moving sale\u003c/a>.) “The hardest part was telling my artists,” said Lee, who’s beginning to look for another brick-and-mortar location. “My lack of space is their lack of space, their lack of an in-person audience. My collectors are upset too. One action like this affects a lot of people.”\u003c/p>\n\u003cp>Oakland Art Murmur board of directors president Jean Durant called Vessel an “anchor of the art scene,” writing in a statement that Lee had a vision to “connect artists with a diverse audience comprised of the public, the art industry, and collectors.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last founding Art Murmur participant, Rock Paper Scissors, closed its Telegraph Avenue gallery \u003ca href=\"https://www.kqed.org/news/10632272/eviction-of-rock-paper-scissors-end-of-an-era-for-oaklands-art-scene\" rel=\"noopener\" target=\"_blank\">after a rent hike\u003c/a> in 2015. \u003c/p>\n\n",
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"excerpt": "Landlord Matthew Iglehart said he wants to take the building in a “different direction.” He also owns properties housing several other galleries nearby. ",
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"title": "Vessel Gallery, Oakland Art Murmur Fixture, to Close Following Lease Termination | KQED",
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"headline": "Vessel Gallery, Oakland Art Murmur Fixture, to Close Following Lease Termination",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight years ago, Lonnie Lee opened Vessel Gallery with a solo exhibition by Oakland sculptor Cyrus Tilton. Next month, she’ll close her Oakland gallery–a fixture of \u003ca href=\"https://oaklandartmurmur.org/\" rel=\"noopener\" target=\"_blank\">Oakland Art Murmur\u003c/a>—with a show by the same artist. “The first was \u003cem>A Place In-Between\u003c/em>,” she said, sitting behind a tower of art books in the renovated loft on 25th Street. “The last is called \u003cem>Elsewhere\u003c/em>.\u003c/p>\n\u003cp>“That was accidental.” \u003c/p>\n\u003cp>Lee’s rent has increased more than 70 percent since 2010, and, with her current lease set to expire, she feared another costly hike. Instead, the landlord outright declined to renew. Through a property management company, owner Matthew Iglehart told Lee in late September that he wants to take his buildings in “another direction”—a chilling message for Uptown galleries composing a key node of First Fridays and Oakland Art Murmur. \u003c/p>\n\u003cp>In addition to Vessel, Iglehart and his family own the 25th St. properties housing several art spaces, including SLATE Contemporary, FM Gallery, Roscoe Ceramic Gallery, Manna Gallery, The Wall Gallery, Local Language and Mercury 20, public records show. Iglehart also owns the New Parkway Theater on 26th Street.\u003c/p>\n\u003cfigure id=\"attachment_13843958\" 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/Vessel.Exterior-800x482.jpg\" alt=\"The outside of Vessel Gallery on 25th Street in Oakland.\" width=\"800\" height=\"482\" class=\"size-medium wp-image-13843958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-800x482.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-160x96.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-768x463.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-1020x615.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-1200x723.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-1180x711.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-960x579.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-240x145.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-375x226.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Exterior-520x313.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The outside of Vessel Gallery on 25th Street in Oakland. \u003ccite>(via Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Iglehart declined to be interviewed for this story or to elaborate on his new direction, writing in an email to KQED that he is still “interested in supporting creative people and business in Oakland.” Lee, however, said Vessel’s ouster signals a shift away from the arts and towards the housing and commercial development that the arts helped hasten and attract. “You do the deduction,” she said. “Spaces like these don’t yield for the square footage anymore.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lee, 54, also faulted city officials for touting the area’s cultural vibrancy without building security for gallery businesses, which are struggling to compete against redevelopment proposals and higher-earning tenants as demand for commercial space intensifies in Oakland. Beginning in 2014, Lee and neighbors agitated for formally anointing the area a Cultural Arts District, only to find the humble resolution scuttled entirely. \u003c/p>\n\u003cp>The Uptown Arts District resolution would’ve increased galleries’ eligibility for grants, and asked city planners to consider neighborhood cultural assets in decision-making. Lee, working with stakeholders and elected officials, revised the resolution more than 30 times. In late 2016 it was scheduled for Oakland City Council subcommittee consideration, but ultimately removed from the agenda. “The resolution got whittled down to just \u003cem>naming\u003c/em> the district, but they wouldn’t hear it,” Lee said. “All we wanted was some protection.”\u003c/p>\n\u003cfigure id=\"attachment_13843960\" 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/Vessel.Lee_.Desk_-800x533.jpg\" alt=\"Lonnie Lee at her desk in Vessel Gallery. The landlord for the building in Oaklan'ds Uptown neighborhood has declined to renew Vessel Gallery's lease.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13843960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.Desk_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Lee at her desk in Vessel Gallery. The landlord for the building in Oaklan’ds Uptown neighborhood has declined to renew Vessel Gallery’s lease. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vessel artist David Burke echoed Lee in comments about the gallery’s closure posted online. “The leaders of our city have made it clear that while they support the idea of Oakland being a haven for visual and performing artists and the spaces we occupy, they are not willing to create enough protections for our community in way of affordable housing and spaces that make it possible for this type of work to continue,” he wrote.\u003c/p>\n\u003cp>Lee relocated \u003ca href=\"https://www.vessel-gallery.com/\">Vessel\u003c/a> from Berkeley to 25th St. in 2010, after spending months transforming the former horse livery’s hayloft into an attractive 5,000 square foot exhibition space. Her neighbors included now-defunct art spaces such as 21 Grand. Oakland Art Murmur, the gallery crawl founded in 2006, had yet to splinter into the now-separately-run street festival known as First Fridays. “Chandra Cerrito had just opened, and Johansson Projects was already here,” she recalled. “It was modest, but bustling and focused.” \u003c/p>\n\u003cp>Lee, a trained painter, stands apart from many gallerists in Oakland. She prefers solo and two-person exhibitions to group shows, and Vessel’s contemporary fare skews abstract and challenging but rarely trendy. “I am not a hobbyist,” she said. “This is full-time.” She represents more than 30 artists, and tries to show work by each of them at least once a year. “I ask artists how they’ve arrived at a style, what they’ve done away with,” she said, paging through one of two Tilton art books published by Vessel. “The narrative is key.” \u003c/p>\n\u003cp>Lee styles Vessel as a platform for a maturing Oakland art scene, a museum-bound underground. She cultivates collectors, and helps artists snare grants and sales. Six of the artists she represents derive their income from their practice. Tilton, who died of cancer last year at the age of 39, had little profile before linking with Lee. \u003cem>Lovers\u003c/em>, a sculpture from his 2011 Vessel show, now lives in the permanent collection at Sacramento’s Crocker Art Museum, which recently staged his first major museum exhibition.\u003c/p>\n\u003cfigure id=\"attachment_13843959\" 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/Vessel.Interior-800x585.jpg\" alt=\"The interior of Vessel Gallery.\" width=\"800\" height=\"585\" class=\"size-medium wp-image-13843959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-800x585.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-768x561.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-960x702.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-240x175.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-375x274.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior-520x380.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Interior.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The interior of Vessel Gallery. \u003ccite>(Courtesy Vessel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tilton’s \u003cem>Elsewhere\u003c/em> and Sanjay Vora’s \u003cem>Together and Apart\u003c/em> open Friday, Nov. 2, and Vessel closes permanently at its current location Nov. 17. (It’s currently holding a \u003ca href=\"https://www.vessel-gallery.com/moving-sale-1/\">moving sale\u003c/a>.) “The hardest part was telling my artists,” said Lee, who’s beginning to look for another brick-and-mortar location. “My lack of space is their lack of space, their lack of an in-person audience. My collectors are upset too. One action like this affects a lot of people.”\u003c/p>\n\u003cp>Oakland Art Murmur board of directors president Jean Durant called Vessel an “anchor of the art scene,” writing in a statement that Lee had a vision to “connect artists with a diverse audience comprised of the public, the art industry, and collectors.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last founding Art Murmur participant, Rock Paper Scissors, closed its Telegraph Avenue gallery \u003ca href=\"https://www.kqed.org/news/10632272/eviction-of-rock-paper-scissors-end-of-an-era-for-oaklands-art-scene\" rel=\"noopener\" target=\"_blank\">after a rent hike\u003c/a> in 2015. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ruffled Feathers: Can Birds and Music Festivals Share Middle Harbor Park?",
"headTitle": "Ruffled Feathers: Can Birds and Music Festivals Share Middle Harbor Park? | KQED",
"content": "\u003cp>Nestled along the southwestern-most corner of Oakland is \u003ca href=\"https://www.portofoakland.com/port/seaport/middle-harbor/\" rel=\"noopener\" target=\"_blank\">Middle Harbor Shoreline Park\u003c/a>, a crescent-shaped greenbelt and public beach stretched beneath Port of Oakland cranes. \u003c/p>\n\u003cp>The remote park is Megan Jankowski’s “patch,” birdwatcher lingo for a site of regular study. Dramatically set against the San Francisco skyline, sandbars and rocks within Middle Harbor’s shallow shore water provide roosting and feeding terrain for myriad species of birds. On Sunday, Jankowski convened a dozen or so binocular-toting birders at the mast of the USS Oakland, which greets visitors in the parking lot, to describe the site’s wintering waterfowl and shorebirds.\u003c/p>\n\u003cfigure id=\"attachment_13843472\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Middle_Harbor_450w_32c.gif\" alt=\"Map of Middle Harbor Shoreline Park.\" width=\"450\" height=\"292\" class=\"size-full wp-image-13843472\">\u003cfigcaption class=\"wp-caption-text\">Map of Middle Harbor Shoreline Park. \u003ccite>(Port of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jankowski, 37, who works in real estate, also noted that the park hosted \u003ca href=\"https://www.kqed.org/arts/13842744/treasure-islands-new-oakland-edition-a-success-now-its-time-to-mix-genres\" rel=\"noopener\" target=\"_blank\">Treasure Island Music Festival\u003c/a> a week prior, and that a smaller event featuring DJs and a jump-house was scheduled for that afternoon. “If you don’t like electronic music, you might be annoyed,” she told the crowd.\u003c/p>\n\u003cp>A birder carrying a tripod-mounted telescope asked Jankowski—who records avian activity at the park twice a month as part of her “master birder” training through the \u003ca href=\"https://goldengateaudubon.org/\" rel=\"noopener\" target=\"_blank\">Golden Gate Audubon Society\u003c/a>—a question she’s lately asked herself: “How do the \u003ca href=\"https://www.audubon.org/field-guide/bird/ruddy-duck\" target=\"_blank\" rel=\"noopener\">Ruddy Ducks\u003c/a> feel about electronic music?”\u003c/p>\n\u003cp>Jankowski smiled, “We’ll see.” Then she recognized a passing \u003ca href=\"https://www.audubon.org/field-guide/bird/annas-hummingbird\" rel=\"noopener\" target=\"_blank\">Anna’s Hummingbird\u003c/a> solely by the squeaking sound of its tail-feathers at the bottom of a dive, the first of 38 species observed and identified by the group that afternoon.\u003c/p>\n\u003cfigure id=\"attachment_13843470\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-800x577.jpg\" alt=\"Birders look for waterfowl.\" width=\"800\" height=\"577\" class=\"size-medium wp-image-13843470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-768x554.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1020x736.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1200x866.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1920x1385.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1180x851.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-960x692.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-520x375.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Birders look for waterfowl. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people; Treasure Island and Blurry Vision each drew more than 10,000 people over both festivals’ two-day runs. Jankowski is among the community members and conservationists concerned about the events’ impact on the park wildlife. She worries that the increasing rate and size of the festivals, and lack of environmentally-conscious conditions, runs against the port’s efforts to improve the habitat for birds, including endangered \u003ca href=\"https://www.audubon.org/field-guide/bird/least-tern\" target=\"_blank\" rel=\"noopener\">Least Terns\u003c/a> and threatened \u003ca href=\"https://www.audubon.org/field-guide/bird/snowy-plover\" target=\"_blank\" rel=\"noopener\">Snowy Plovers\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Non-birders, I call them muggles,” Jankowski said, invoking J.K. Rowling’s term for un-magical people to describe the general population’s indifference to birds. “I know it’s divisive, but I love in \u003cem>Harry Potter\u003c/em> when he asks the guy on the night bus, ‘Don’t the muggles see the night bus?’ And the night bus guy says to him, ‘No, the muggles don’t see anything, do they?’”\u003c/p>\n\u003cp>At Middle Harbor, birds and music festivals are vying for the same physical space. After \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" rel=\"noopener\" target=\"_blank\">Blurry Vision\u003c/a>, a Goldenvoice production headlined by Migos and SZA in May, Jankowski found killdeer fledglings roaming what’d been the stage area. On Sunday, she pointed out bushtit and crow nests on the Treasure Island Music Festival grounds. \u003c/p>\n\u003cp>Shorebirds visiting in the fall and winter are especially vulnerable to disturbance, she said. “Later in the season ahead of migration, it’s important for them to be constantly eating or resting.” Still, Jankowski admits, the area is a park, not a wildlife refuge, and it’s difficult to quantify the birds’ tolerance for crowds and noise.\u003c/p>\n\u003cp>Bay Area municipalities closely regulate changes of use in public spaces. The San Francisco Recreation & Parks Department requires Another Planet Entertainment (APE), which coproduces the Treasure Island Music Festival with Noise Pop, to rent special forklifts with \u003ca href=\"https://www.eastbayexpress.com/oakland/gregg-perloff-is-the-new-bill-graham/Content?oid=1091223\" target=\"_blank\" rel=\"noopener\">gopher-friendly tires\u003c/a> in order to throw Outside Lands in Golden Gate Park. Berkeley commissioned a \u003ca href=\"https://www.cityofberkeley.info/uploadedFiles/Parks_Rec_Waterfront/Level_3__-General/Aquatic%20Park-finalrpt-V31.pdf\" target=\"_blank\" rel=\"noopener\">study\u003c/a> of the effects of recreational watercraft on the birds at Aquatic Park. But Port of Oakland contracts with APE and Goldenvoice, which KQED reviewed, include no park-specific environmental stipulations aside from cleanup. For this year’s concerts, the festival producers each paid the port more than $30,000 in rental fees. \u003c/p>\n\u003cfigure id=\"attachment_13843453\" 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/MG_0215-800x533.jpg\" alt=\"Birders and port officials agree the park is underused.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13843453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Birders and port officials agree the park is underused. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shoreline is part of the Middle Harbor Enhancement Area, an ambitious port and US Army Corps of Engineers project to restore salt marsh and shallow tideland habitat to some 180 acres of waterfront. A \u003ca href=\"https://www.portofoakland.com/files/PDF/MMM%20Plan%20-%20MHEA.pdf\" rel=\"noopener\" target=\"_blank\">2001 report\u003c/a> by port consultants includes goals such as “increase habitat benefits for aquatic birds” and “identify any conflicts between public access and habitat development.” Port spokesperson Michael Zampa said the festivals are part of balancing public access and environmental stewardship. “At all of our events, we’re mindful that the park is adjacent to a sensitive natural habitat,” he said. “After all, we helped create the habitat.”\u003c/p>\n\u003cp>Jankowski and port officials agree that the park is underused, an oasis separated from West Oakland by acres of shipping containers and barren roads known for late-night sideshows. (One afternoon, Jankowski was robbed in the parking lot.) But Jankowski fears that marketing the park via music festivals threatens part of what makes Middle Harbor a naturalist destination and a “jewel within the port,” saying the agency should better study the effects of crowds, fireworks and noise. \u003c/p>\n\u003cp>In regards to increased festival size and frequency, Zampa said on average, Middle Harbor hosts only two events a year with more than 1,000 people in attendance. In answer to concerns about pyrotechnics during Treasure Island, he said a performer used fireworks for only 15 seconds before officials intervened. And as far as studies informing potential conditions on events, Zampa said the port took the “above-and-beyond step” of hiring Horizon Water and Environment to monitor birds during Treasure Island, but the findings aren’t yet available.\u003c/p>\n\u003cp>“Our intent is to open the shoreline to the public and to develop/preserve the ecosystem,” he said. “We believe those two goals are compatible, but we must be watchful for negative impacts.”\u003c/p>\n\u003cp>At Middle Harbor on Sunday, the main detectable aftermath of Treasure Island Music Festival was a dustbowl where there was once grass. House beats from the small afternoon party, along with the buzz of a gas-powered generator, echoed faintly throughout much of the park, but only as loudly as the beeps and clangs of port machinery offloading an international freighter.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Shorebirds including species of sandpiper, egret, heron, gull and tern sprawled across the sandbars at low tide. When they suddenly up and flocked, the birders looked to the sky for predators, and saw the first \u003ca href=\"https://www.audubon.org/field-guide/bird/northern-harrier\" rel=\"noopener\" target=\"_blank\">Northern Harrier hawk\u003c/a> Jankowski has recorded at Middle Harbor. But there was a conspicuous lack of Ruddy Ducks.\u003c/p>\n\n",
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"excerpt": "Birdwatchers worry an uptick in festival programming runs against the Port of Oakland’s habitat restoration project at Middle Harbor Shoreline Park.",
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"description": "Birdwatchers worry an uptick in festival programming runs against the Port of Oakland’s habitat restoration project at Middle Harbor Shoreline Park.",
"title": "Ruffled Feathers: Can Birds and Music Festivals Share Middle Harbor Park? | KQED",
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"headline": "Ruffled Feathers: Can Birds and Music Festivals Share Middle Harbor Park?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nestled along the southwestern-most corner of Oakland is \u003ca href=\"https://www.portofoakland.com/port/seaport/middle-harbor/\" rel=\"noopener\" target=\"_blank\">Middle Harbor Shoreline Park\u003c/a>, a crescent-shaped greenbelt and public beach stretched beneath Port of Oakland cranes. \u003c/p>\n\u003cp>The remote park is Megan Jankowski’s “patch,” birdwatcher lingo for a site of regular study. Dramatically set against the San Francisco skyline, sandbars and rocks within Middle Harbor’s shallow shore water provide roosting and feeding terrain for myriad species of birds. On Sunday, Jankowski convened a dozen or so binocular-toting birders at the mast of the USS Oakland, which greets visitors in the parking lot, to describe the site’s wintering waterfowl and shorebirds.\u003c/p>\n\u003cfigure id=\"attachment_13843472\" class=\"wp-caption alignright\" style=\"max-width: 450px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Middle_Harbor_450w_32c.gif\" alt=\"Map of Middle Harbor Shoreline Park.\" width=\"450\" height=\"292\" class=\"size-full wp-image-13843472\">\u003cfigcaption class=\"wp-caption-text\">Map of Middle Harbor Shoreline Park. \u003ccite>(Port of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jankowski, 37, who works in real estate, also noted that the park hosted \u003ca href=\"https://www.kqed.org/arts/13842744/treasure-islands-new-oakland-edition-a-success-now-its-time-to-mix-genres\" rel=\"noopener\" target=\"_blank\">Treasure Island Music Festival\u003c/a> a week prior, and that a smaller event featuring DJs and a jump-house was scheduled for that afternoon. “If you don’t like electronic music, you might be annoyed,” she told the crowd.\u003c/p>\n\u003cp>A birder carrying a tripod-mounted telescope asked Jankowski—who records avian activity at the park twice a month as part of her “master birder” training through the \u003ca href=\"https://goldengateaudubon.org/\" rel=\"noopener\" target=\"_blank\">Golden Gate Audubon Society\u003c/a>—a question she’s lately asked herself: “How do the \u003ca href=\"https://www.audubon.org/field-guide/bird/ruddy-duck\" target=\"_blank\" rel=\"noopener\">Ruddy Ducks\u003c/a> feel about electronic music?”\u003c/p>\n\u003cp>Jankowski smiled, “We’ll see.” Then she recognized a passing \u003ca href=\"https://www.audubon.org/field-guide/bird/annas-hummingbird\" rel=\"noopener\" target=\"_blank\">Anna’s Hummingbird\u003c/a> solely by the squeaking sound of its tail-feathers at the bottom of a dive, the first of 38 species observed and identified by the group that afternoon.\u003c/p>\n\u003cfigure id=\"attachment_13843470\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-800x577.jpg\" alt=\"Birders look for waterfowl.\" width=\"800\" height=\"577\" class=\"size-medium wp-image-13843470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-800x577.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-768x554.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1020x736.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1200x866.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1920x1385.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-1180x851.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-960x692.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl.-520x375.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Birders-look-for-waterfowl..jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Birders look for waterfowl. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2018, the Port of Oakland-owned and operated park hosted three music festivals attended by more than 4,000 people; Treasure Island and Blurry Vision each drew more than 10,000 people over both festivals’ two-day runs. Jankowski is among the community members and conservationists concerned about the events’ impact on the park wildlife. She worries that the increasing rate and size of the festivals, and lack of environmentally-conscious conditions, runs against the port’s efforts to improve the habitat for birds, including endangered \u003ca href=\"https://www.audubon.org/field-guide/bird/least-tern\" target=\"_blank\" rel=\"noopener\">Least Terns\u003c/a> and threatened \u003ca href=\"https://www.audubon.org/field-guide/bird/snowy-plover\" target=\"_blank\" rel=\"noopener\">Snowy Plovers\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Non-birders, I call them muggles,” Jankowski said, invoking J.K. Rowling’s term for un-magical people to describe the general population’s indifference to birds. “I know it’s divisive, but I love in \u003cem>Harry Potter\u003c/em> when he asks the guy on the night bus, ‘Don’t the muggles see the night bus?’ And the night bus guy says to him, ‘No, the muggles don’t see anything, do they?’”\u003c/p>\n\u003cp>At Middle Harbor, birds and music festivals are vying for the same physical space. After \u003ca href=\"https://www.kqed.org/arts/13832104/sza-brockhampton-kamaiyah-bring-blurry-vision-into-focus-in-oakland\" rel=\"noopener\" target=\"_blank\">Blurry Vision\u003c/a>, a Goldenvoice production headlined by Migos and SZA in May, Jankowski found killdeer fledglings roaming what’d been the stage area. On Sunday, she pointed out bushtit and crow nests on the Treasure Island Music Festival grounds. \u003c/p>\n\u003cp>Shorebirds visiting in the fall and winter are especially vulnerable to disturbance, she said. “Later in the season ahead of migration, it’s important for them to be constantly eating or resting.” Still, Jankowski admits, the area is a park, not a wildlife refuge, and it’s difficult to quantify the birds’ tolerance for crowds and noise.\u003c/p>\n\u003cp>Bay Area municipalities closely regulate changes of use in public spaces. The San Francisco Recreation & Parks Department requires Another Planet Entertainment (APE), which coproduces the Treasure Island Music Festival with Noise Pop, to rent special forklifts with \u003ca href=\"https://www.eastbayexpress.com/oakland/gregg-perloff-is-the-new-bill-graham/Content?oid=1091223\" target=\"_blank\" rel=\"noopener\">gopher-friendly tires\u003c/a> in order to throw Outside Lands in Golden Gate Park. Berkeley commissioned a \u003ca href=\"https://www.cityofberkeley.info/uploadedFiles/Parks_Rec_Waterfront/Level_3__-General/Aquatic%20Park-finalrpt-V31.pdf\" target=\"_blank\" rel=\"noopener\">study\u003c/a> of the effects of recreational watercraft on the birds at Aquatic Park. But Port of Oakland contracts with APE and Goldenvoice, which KQED reviewed, include no park-specific environmental stipulations aside from cleanup. For this year’s concerts, the festival producers each paid the port more than $30,000 in rental fees. \u003c/p>\n\u003cfigure id=\"attachment_13843453\" 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/MG_0215-800x533.jpg\" alt=\"Birders and port officials agree the park is underused.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13843453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MG_0215-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Birders and port officials agree the park is underused. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The shoreline is part of the Middle Harbor Enhancement Area, an ambitious port and US Army Corps of Engineers project to restore salt marsh and shallow tideland habitat to some 180 acres of waterfront. A \u003ca href=\"https://www.portofoakland.com/files/PDF/MMM%20Plan%20-%20MHEA.pdf\" rel=\"noopener\" target=\"_blank\">2001 report\u003c/a> by port consultants includes goals such as “increase habitat benefits for aquatic birds” and “identify any conflicts between public access and habitat development.” Port spokesperson Michael Zampa said the festivals are part of balancing public access and environmental stewardship. “At all of our events, we’re mindful that the park is adjacent to a sensitive natural habitat,” he said. “After all, we helped create the habitat.”\u003c/p>\n\u003cp>Jankowski and port officials agree that the park is underused, an oasis separated from West Oakland by acres of shipping containers and barren roads known for late-night sideshows. (One afternoon, Jankowski was robbed in the parking lot.) But Jankowski fears that marketing the park via music festivals threatens part of what makes Middle Harbor a naturalist destination and a “jewel within the port,” saying the agency should better study the effects of crowds, fireworks and noise. \u003c/p>\n\u003cp>In regards to increased festival size and frequency, Zampa said on average, Middle Harbor hosts only two events a year with more than 1,000 people in attendance. In answer to concerns about pyrotechnics during Treasure Island, he said a performer used fireworks for only 15 seconds before officials intervened. And as far as studies informing potential conditions on events, Zampa said the port took the “above-and-beyond step” of hiring Horizon Water and Environment to monitor birds during Treasure Island, but the findings aren’t yet available.\u003c/p>\n\u003cp>“Our intent is to open the shoreline to the public and to develop/preserve the ecosystem,” he said. “We believe those two goals are compatible, but we must be watchful for negative impacts.”\u003c/p>\n\u003cp>At Middle Harbor on Sunday, the main detectable aftermath of Treasure Island Music Festival was a dustbowl where there was once grass. House beats from the small afternoon party, along with the buzz of a gas-powered generator, echoed faintly throughout much of the park, but only as loudly as the beeps and clangs of port machinery offloading an international freighter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Shorebirds including species of sandpiper, egret, heron, gull and tern sprawled across the sandbars at low tide. When they suddenly up and flocked, the birders looked to the sky for predators, and saw the first \u003ca href=\"https://www.audubon.org/field-guide/bird/northern-harrier\" rel=\"noopener\" target=\"_blank\">Northern Harrier hawk\u003c/a> Jankowski has recorded at Middle Harbor. But there was a conspicuous lack of Ruddy Ducks.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "in-new-oakland-can-you-still-smash-a-piano-and-call-it-art",
"title": "Can You Still Smash a Piano and Call it Art in New Oakland?",
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"content": "\u003cp>On a late Saturday night in mid-August, the overhead lights of an Oakland warehouse reflected off \u003ca href=\"http://www.moestaiano.com/\" target=\"_blank\" rel=\"noopener\">Moe Staiano\u003c/a>’s sweaty brow as he waved his hands wildly, using giant cue cards to conduct his 75-piece orchestra of violinists, guitarists, bassists and percussionists. The cacophonous score slowly built into a rhythmic foreboding that pulsated through the room.\u003c/p>\n\u003cp>Then, \u003cem>clang!\u003c/em> Staiano brought down his sledgehammer. Shards of his piano’s white keys splintered off and flew into the crowd. \u003cem>Bang!\u003c/em> He pummeled the side board. It loosened, then split off. \u003cem>Crash!\u003c/em> He shoved the piano’s remaining frame forward, slamming it onto the concrete ground. Staiano pounced on his fallen victim, bashing the few strings that stubbornly hung on. The standing room-only crowd watched in bewilderment and awe as they witnessed something between an anatomical dissection and a spiritual transition.\u003c/p>\n\u003cp>The piece is called \u003cem>Death of a Piano\u003c/em>, and it was the first time Staiano had performed it since May 25, 2007.\u003c/p>\n\u003cp>https://youtu.be/GVkHkn92tm0\u003c/p>\n\u003cp>“You have do a few whacks in the middle, and then hit all the cheap side things so it pushes those parts out,” Staiano tells me of his technique. “Go back to the middle, take the keyboard out, and you have the frame pretty much exposed. Then, you break that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He clarifies that he can only speak to the destruction of spinet and upright pianos. “I’ve never done a grand,” he says. “That would be a completely new ballgame.”\u003c/p>\n\u003cp>\u003cem>Death of a Piano\u003c/em>, one of Staiano’s best-known works, is the product of another time in Oakland—when cheap rent and abundant warehouse space afforded artists the freedom to create eccentric, experimental work that didn’t make much money but was nonetheless thrilling to watch.\u003c/p>\n\u003cp>Staiano moved to Oakland from the Central Valley town of Manteca in the mid-2000s, but he had already been involved in the Bay Area’s thriving experimental and improvisational music scene since the late ’90s, largely as a drummer and percussionist. He joined a few bands, including Mute Socialite and the influential act \u003ca href=\"https://en.wikipedia.org/wiki/Sleepytime_Gorilla_Museum\" target=\"_blank\" rel=\"noopener\">Sleepytime Gorilla Museum\u003c/a>, before forming his own post-punk “no-wave” outfit \u003ca href=\"https://moestaiano.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Surplus 1980\u003c/a>. In the downtime between gigs, he wrote compositions for his avant-garde orchestra, then called Moe!kestra, now dubbed the Moe! Staiano Ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13843092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/image3-800x450.jpeg\" alt=\"Time and space to create are at a premium in the Bay Area. Can eccentric art like Moe! Staiano's 'Death of a Piano' survive? \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-520x293.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Time and space to create are at a premium in the Bay Area. Can eccentric art like Moe! Staiano’s ‘Death of a Piano’ survive? \u003ccite>(Feona Lee Jones )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Things have changed since the first time Staiano smashed a piano in front of a live audience. Those earlier performances were a little more reckless, the composer says. There was a lot of anger he was taking out on objects—pianos, TV sets, fireworks. But that was a different life for him, Staiano says, and a different era for Oakland.\u003c/p>\n\u003cp>“There was a lot more freedom back then,” he says. “Now, it’s a lot more strained.”\u003c/p>\n\u003cp>When people talk about the changes Oakland has undergone in recent years, they mention dank dive bars converted to $12 cocktail joints, “dangerous” blocks colonized by rows of boutique shops and low-income families displaced by hipsters. Sky-high rents make it hard for artists to find the space to create, but there are also new bondages placed on time. Often, the choice is to make work that pays the bills, or take on a second or third job.\u003c/p>\n\u003cp>When there’s hardly any time to explore and improvise without a financial end-goal in mind, a creative scene has no room to incubate. It splinters like one of Staiano’s poor pianos.\u003c/p>\n\u003cp>https://youtu.be/NUOuP3oQio4\u003c/p>\n\u003cp>Staiano performed \u003cem>Death of a Piano\u003c/em> 11 years ago, when he was paying $500 a month for a shared place. Now, his rent is nearly double, and even then, that’s only due to a benevolent landlord. He’s performed \u003cem>Death of a Piano\u003c/em> seven or eight times, around the Bay Area and once up in Portland, but Staiano’s never really been satisfied with them.\u003c/p>\n\u003cp>He mentions compromises, subtle to viewers but grating to him, that he’s had to make over the years because he couldn’t find enough musicians. He also changed his priority to safety after an audience member, the author Beth Lisick, was hit in the face with a “pretty big chunk of metal and wood” when she was eight months pregnant. (Lisick even \u003ca href=\"https://www.sfgate.com/music/article/Smallest-Show-in-Town-s-big-night-Moe-Staiano-2783454.php\" target=\"_blank\" rel=\"noopener\">wrote about it\u003c/a> for the \u003cem>San Francisco Chronicle \u003c/em>in 2002. )\u003c/p>\n\u003cp>“These people crowded around me to see if I was okay, if I wanted ice or a towel, but all I wanted to do was keep watching the show with the blood all over my face,” Lisick tells me. “I don’t think I’d ever felt cooler in my entire life.”\u003c/p>\n\u003cp>Staiano was fortunate to find a perfect venue for his August performance—the First Church of the Buzzard in Ghost Town—but there weren’t many to choose from. “Obviously, before Ghost Ship, there were a lot of warehouse spaces,” he says. “But finding spaces after 2013 just became harder to come by. It was one of the reasons I kind of stopped.”\u003c/p>\n\u003cp>Although he doesn’t have any piano-smashing engagements coming up, Staiano’s \u003ca href=\"https://www.facebook.com/events/300366267361863/\" target=\"_blank\" rel=\"noopener\">next performance\u003c/a> is on Oct. 23 at The Uptown, where he’ll conduct his nine-piece electric guitar ensemble in a composition titled \u003cem>Away Towards the Light\u003c/em>. Influenced by the “no-wave” bands of late-’70s New York, \u003cem>Away Towards the Light\u003c/em> uses a minimal, repetitive beat as the backbone for the piece’s three- or four-guitar groupings. “Lots of discordant and tri-tone chords and notes and very intense,” Staiano says, “but also very calm and pretty before moving back to epic walls of guitars once more.”\u003c/p>\n\u003cp>And though Staiano is excited to perform once again, he’s still not sure how long he’ll avoid the looming scythe of the housing crisis.\u003c/p>\n\u003cp>“It is an art I want to keep doing, and it’s the only thing I’m really good at,” he says. “Even if I’m not making money, I’m not going to stop.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Moe Staiano performs at The Uptown in Oakland on Oct. 23. Details \u003ca href=\"https://www.facebook.com/events/300366267361863/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Moe Staiano's 'Death of a Piano' is unquestionably of a different era, when artists in Oakland could afford to explore and improvise.",
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"title": "Can You Still Smash a Piano and Call it Art in New Oakland? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a late Saturday night in mid-August, the overhead lights of an Oakland warehouse reflected off \u003ca href=\"http://www.moestaiano.com/\" target=\"_blank\" rel=\"noopener\">Moe Staiano\u003c/a>’s sweaty brow as he waved his hands wildly, using giant cue cards to conduct his 75-piece orchestra of violinists, guitarists, bassists and percussionists. The cacophonous score slowly built into a rhythmic foreboding that pulsated through the room.\u003c/p>\n\u003cp>Then, \u003cem>clang!\u003c/em> Staiano brought down his sledgehammer. Shards of his piano’s white keys splintered off and flew into the crowd. \u003cem>Bang!\u003c/em> He pummeled the side board. It loosened, then split off. \u003cem>Crash!\u003c/em> He shoved the piano’s remaining frame forward, slamming it onto the concrete ground. Staiano pounced on his fallen victim, bashing the few strings that stubbornly hung on. The standing room-only crowd watched in bewilderment and awe as they witnessed something between an anatomical dissection and a spiritual transition.\u003c/p>\n\u003cp>The piece is called \u003cem>Death of a Piano\u003c/em>, and it was the first time Staiano had performed it since May 25, 2007.\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/GVkHkn92tm0'\n title='//www.youtube.com/embed/GVkHkn92tm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You have do a few whacks in the middle, and then hit all the cheap side things so it pushes those parts out,” Staiano tells me of his technique. “Go back to the middle, take the keyboard out, and you have the frame pretty much exposed. Then, you break that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He clarifies that he can only speak to the destruction of spinet and upright pianos. “I’ve never done a grand,” he says. “That would be a completely new ballgame.”\u003c/p>\n\u003cp>\u003cem>Death of a Piano\u003c/em>, one of Staiano’s best-known works, is the product of another time in Oakland—when cheap rent and abundant warehouse space afforded artists the freedom to create eccentric, experimental work that didn’t make much money but was nonetheless thrilling to watch.\u003c/p>\n\u003cp>Staiano moved to Oakland from the Central Valley town of Manteca in the mid-2000s, but he had already been involved in the Bay Area’s thriving experimental and improvisational music scene since the late ’90s, largely as a drummer and percussionist. He joined a few bands, including Mute Socialite and the influential act \u003ca href=\"https://en.wikipedia.org/wiki/Sleepytime_Gorilla_Museum\" target=\"_blank\" rel=\"noopener\">Sleepytime Gorilla Museum\u003c/a>, before forming his own post-punk “no-wave” outfit \u003ca href=\"https://moestaiano.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Surplus 1980\u003c/a>. In the downtime between gigs, he wrote compositions for his avant-garde orchestra, then called Moe!kestra, now dubbed the Moe! Staiano Ensemble.\u003c/p>\n\u003cfigure id=\"attachment_13843092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843092\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/image3-800x450.jpeg\" alt=\"Time and space to create are at a premium in the Bay Area. Can eccentric art like Moe! Staiano's 'Death of a Piano' survive? \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-800x450.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-160x90.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-768x432.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-1020x574.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-1200x675.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-1180x664.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-960x540.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-240x135.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-375x211.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/image3-520x293.jpeg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Time and space to create are at a premium in the Bay Area. Can eccentric art like Moe! Staiano’s ‘Death of a Piano’ survive? \u003ccite>(Feona Lee Jones )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Things have changed since the first time Staiano smashed a piano in front of a live audience. Those earlier performances were a little more reckless, the composer says. There was a lot of anger he was taking out on objects—pianos, TV sets, fireworks. But that was a different life for him, Staiano says, and a different era for Oakland.\u003c/p>\n\u003cp>“There was a lot more freedom back then,” he says. “Now, it’s a lot more strained.”\u003c/p>\n\u003cp>When people talk about the changes Oakland has undergone in recent years, they mention dank dive bars converted to $12 cocktail joints, “dangerous” blocks colonized by rows of boutique shops and low-income families displaced by hipsters. Sky-high rents make it hard for artists to find the space to create, but there are also new bondages placed on time. Often, the choice is to make work that pays the bills, or take on a second or third job.\u003c/p>\n\u003cp>When there’s hardly any time to explore and improvise without a financial end-goal in mind, a creative scene has no room to incubate. It splinters like one of Staiano’s poor pianos.\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/NUOuP3oQio4'\n title='//www.youtube.com/embed/NUOuP3oQio4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Staiano performed \u003cem>Death of a Piano\u003c/em> 11 years ago, when he was paying $500 a month for a shared place. Now, his rent is nearly double, and even then, that’s only due to a benevolent landlord. He’s performed \u003cem>Death of a Piano\u003c/em> seven or eight times, around the Bay Area and once up in Portland, but Staiano’s never really been satisfied with them.\u003c/p>\n\u003cp>He mentions compromises, subtle to viewers but grating to him, that he’s had to make over the years because he couldn’t find enough musicians. He also changed his priority to safety after an audience member, the author Beth Lisick, was hit in the face with a “pretty big chunk of metal and wood” when she was eight months pregnant. (Lisick even \u003ca href=\"https://www.sfgate.com/music/article/Smallest-Show-in-Town-s-big-night-Moe-Staiano-2783454.php\" target=\"_blank\" rel=\"noopener\">wrote about it\u003c/a> for the \u003cem>San Francisco Chronicle \u003c/em>in 2002. )\u003c/p>\n\u003cp>“These people crowded around me to see if I was okay, if I wanted ice or a towel, but all I wanted to do was keep watching the show with the blood all over my face,” Lisick tells me. “I don’t think I’d ever felt cooler in my entire life.”\u003c/p>\n\u003cp>Staiano was fortunate to find a perfect venue for his August performance—the First Church of the Buzzard in Ghost Town—but there weren’t many to choose from. “Obviously, before Ghost Ship, there were a lot of warehouse spaces,” he says. “But finding spaces after 2013 just became harder to come by. It was one of the reasons I kind of stopped.”\u003c/p>\n\u003cp>Although he doesn’t have any piano-smashing engagements coming up, Staiano’s \u003ca href=\"https://www.facebook.com/events/300366267361863/\" target=\"_blank\" rel=\"noopener\">next performance\u003c/a> is on Oct. 23 at The Uptown, where he’ll conduct his nine-piece electric guitar ensemble in a composition titled \u003cem>Away Towards the Light\u003c/em>. Influenced by the “no-wave” bands of late-’70s New York, \u003cem>Away Towards the Light\u003c/em> uses a minimal, repetitive beat as the backbone for the piece’s three- or four-guitar groupings. “Lots of discordant and tri-tone chords and notes and very intense,” Staiano says, “but also very calm and pretty before moving back to epic walls of guitars once more.”\u003c/p>\n\u003cp>And though Staiano is excited to perform once again, he’s still not sure how long he’ll avoid the looming scythe of the housing crisis.\u003c/p>\n\u003cp>“It is an art I want to keep doing, and it’s the only thing I’m really good at,” he says. “Even if I’m not making money, I’m not going to stop.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Moe Staiano performs at The Uptown in Oakland on Oct. 23. Details \u003ca href=\"https://www.facebook.com/events/300366267361863/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Stars Come Out for a Freshly Painted Basketball Court in West Oakland",
"headTitle": "Stars Come Out for a Freshly Painted Basketball Court in West 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\">R\u003c/span>etired NBA star Kevin Garnett came to Oakland last Friday. That’s right: KG, the Kid, the Big Ticket. The former first-round draft pick straight out of high school, who went on to do just about everything in his basketball career—except get inducted to the Hall of Fame, which people are expecting to happen next year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" 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>And as he walked through West Oakland’s DeFremery Park, a.k.a. Little Bobby Hutton Park, I wondered if the young folks in attendance, most of them from grade schools in Oakland, even knew who he was. \u003c/p>\n\u003cp>Garnett was joined by a number of notable rap artists—E-40, Jadakiss, ALLBLACK and SOBxRBE—for the unveiling of a freshly painted set of hoop courts. The event was sponsored by Kevin Garnett’s TV show \u003cem>\u003ca href=\"http://www.startribune.com/kevin-garnett-brings-area-21-to-nba-on-tnt-with-the-cuss-button/399961321/\" rel=\"noopener\" target=\"_blank\">Area 21\u003c/a>\u003c/em>, which is under the TNT network’s umbrella, in collaboration with the And1 brand—you remember them?\u003c/p>\n\u003cp>In the late ’90s and early ’00s, And1 was a street basketball brand that hosted games at urban courts all across America; they also produced \u003ca href=\"https://www.youtube.com/watch?v=TA04S4yOA_0\" rel=\"noopener\" target=\"_blank\">video mixtapes of the games\u003c/a>, and had a line of athletic sportswear. Intertwined with hip-hop culture, the brand had a crazy amount of influence on the way the game was played when I was a kid. They had young ballers across the nation double dribbling, trying to imitate moves like the “Slip-n-Slide.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was a horrid time for fundamental basketball, and a glorious time for highlight reels.\u003c/p>\n\u003cfigure id=\"attachment_13842909\" 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/DefremeryMural-800x450.jpg\" alt=\"An overhead view of the courts at DeFremery Park, newly painted by the Illuminaries.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13842909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An overhead view of the courts at DeFremery Park, newly painted by the Illuminaries. \u003ccite>(Salvatore Fullmore)\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>vidently, there are forces trying to revive that era, as And1 is making a comeback. And with that comeback, they may be bridging the gap between two generations of ballers and hip-hop artists. I mean, there weren’t any young hoopers of note from the Bay Area on stage with Garnett & Co., but the young artists exchanging convos with the elder statesmen was a good sign.\u003c/p>\n\u003cp>I’m sure older hip-hop heads would appreciate that the “elements of hip-hop” were also present. Young people danced as the DJ played hit songs, the emcee did a slight call-and-response as the sponsors passed out basketballs and shirts. And the element of graffiti—in the form of a mural, at least—was front and center. \u003c/p>\n\u003cp>The Illuminaries, a Bay Area-based collective of artists composed of Tim Hon, Steve Ha, and Romali Licudan (who was out of town for this project), worked with Steven Anderson and Eric Nodora to lay down a few layers of paint on the hoop courts; and, as usual, incorporated local flavor into their art.\u003c/p>\n\u003cfigure id=\"attachment_13842913\" 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/E-40.DeFremery-800x535.jpg\" alt=\"E-40 at DeFremery Park in West Oakland, Oct. 12, 2018.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13842913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 at DeFremery Park in West Oakland, Oct. 12, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a Hieroglyphics emblem in one corner of the court. MC Hammer’s signature is in another spot. Not too far from Hammer is the name of Darryl “Lil D” Reed, the former drug kingpin-turned-author, who was pardoned under the Obama Administration after serving 26 years.\u003c/p>\n\u003cp>“This is history right here,” E-40 told Steve Ha, as he pointed to Reed. “You need to take a picture with him!” \u003c/p>\n\u003cp>Ha told me that Reed applauded the efforts of the artists, shaking their hands and telling them, “It’s all about doing something positive for the community.” \u003c/p>\n\u003cp>And the Illuminaries have been doing it for the community for years—putting paint where it ain’t, as some might say.\u003c/p>\n\u003cfigure id=\"attachment_13842898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/0-4-800x535.jpg\" alt=\"Tim Hon and Steve Ha of the Illuminaries.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13842898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Hon and Steve Ha of the Illuminaries. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ha told me that their first big piece was in 2012, when they did a mural featuring the 49ers, which was signed by Vernon Davis. The piece made it to the local news.\u003c/p>\n\u003cp>I first saw their work in 2015, when I took \u003ca href=\"https://twitter.com/OGpenn/status/609377931425550339\" rel=\"noopener\" target=\"_blank\">this picture\u003c/a> of their portrait of Steph Curry, painted in the likeness of Mac Dre. The pic blew up, and since then I’ve seen the Illuminaries work all over town.\u003c/p>\n\u003cp>There’s another one of Steph alongside the 980 freeway, on the side of the Jamtown building. There’s a big piece on the side of the Marriott in downtown Oakland, a promo piece for the city. And there’s the \u003ca href=\"https://twitter.com/whatwoulddoodo/status/847896841047785472\" rel=\"noopener\" target=\"_blank\">enormous mural of Stomper the elephant\u003c/a> in downtown Oakland, on 19th and Webster, the biggest homage to the A’s being rooted in the Town.\u003c/p>\n\u003cp>The Illuminaries have found a niche, and painting sports and hip-hop culture seems to be working; not just for them, but for the community as well.\u003c/p>\n\u003cp>“There’s so much overlap between sports and art. And they both have the ability to put hate and prejudice aside, and allow people to come together,” Ha told me. “This might be our path.”\u003c/p>\n\u003cfigure id=\"attachment_13842897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/0-800x535.jpg\" alt=\"DaBoii and Yhung T.O. of SOBxRBE at DeFremery Park in Oakland, Oct. 12, 2018.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13842897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DaBoii and Yhung T.O. of SOBxRBE at DeFremery Park in Oakland, Oct. 12, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Illuminaries’ finished work will be shown during the Warriors game on Tuesday night, as part of TNT’s broadcast for the start of the NBA season. And throughout the season, the group will continue to paint community courts in four more cities across America between now and the NBA finals.\u003c/p>\n\u003cp>As And1 makes its resurgence, I think it’s cool to note that the overlap between hip-hop and sports hasn’t gone anywhere since I was a kid—in fact, it’s grown. Migos songs are played prior to MLB playoff games and YG is the (unofficial) spokesperson for the L.A. Rams.\u003c/p>\n\u003cp>And on top of that, all the classic elements of hip-hop—the emcee, the DJ, the dancer, and the graffiti writer—are all still present.\u003c/p>\n\u003cfigure id=\"attachment_13842901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/0-2-800x535.jpg\" alt=\"Kids scream for a free basketball at DeFremery Park, Oct. 12, 2018.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13842901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kids scream for a free basketball at DeFremery Park, Oct. 12, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But I still wondered about the fifth element. You know: knowledge. Knowledge of the history of legends from years ago, their accomplishments and what they said when they reached the top of their game.\u003c/p>\n\u003cp>My question was answered when Garnett made his way from the stage for the ribbon-cutting ceremony at the newly painted basketball courts. He hurried through the crowd, but crossed the path of a young man who screamed, “Anything is possible!” at the top of lungs as the seven-footer walked past. The quote, of course, is Garnett’s \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\" rel=\"noopener\" target=\"_blank\">classic exclamation of joy\u003c/a> after winning the 2008 NBA championship with the Boston Celtics.\u003c/p>\n\u003cp>I laughed as I took a photo of the moment. I guess they do know who KG is after all.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"description": "Retired NBA star Kevin Garnett came to Oakland last Friday. That's right: KG, the Kid, the Big Ticket. The former first-round draft pick straight out of high school, who went on to do just about everything in his basketball career—except get inducted to the Hall of Fame, which people are expecting to happen next year.",
"title": "Stars Come Out for a Freshly Painted Basketball Court in West 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\">R\u003c/span>etired NBA star Kevin Garnett came to Oakland last Friday. That’s right: KG, the Kid, the Big Ticket. The former first-round draft pick straight out of high school, who went on to do just about everything in his basketball career—except get inducted to the Hall of Fame, which people are expecting to happen next year. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" 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>And as he walked through West Oakland’s DeFremery Park, a.k.a. Little Bobby Hutton Park, I wondered if the young folks in attendance, most of them from grade schools in Oakland, even knew who he was. \u003c/p>\n\u003cp>Garnett was joined by a number of notable rap artists—E-40, Jadakiss, ALLBLACK and SOBxRBE—for the unveiling of a freshly painted set of hoop courts. The event was sponsored by Kevin Garnett’s TV show \u003cem>\u003ca href=\"http://www.startribune.com/kevin-garnett-brings-area-21-to-nba-on-tnt-with-the-cuss-button/399961321/\" rel=\"noopener\" target=\"_blank\">Area 21\u003c/a>\u003c/em>, which is under the TNT network’s umbrella, in collaboration with the And1 brand—you remember them?\u003c/p>\n\u003cp>In the late ’90s and early ’00s, And1 was a street basketball brand that hosted games at urban courts all across America; they also produced \u003ca href=\"https://www.youtube.com/watch?v=TA04S4yOA_0\" rel=\"noopener\" target=\"_blank\">video mixtapes of the games\u003c/a>, and had a line of athletic sportswear. Intertwined with hip-hop culture, the brand had a crazy amount of influence on the way the game was played when I was a kid. They had young ballers across the nation double dribbling, trying to imitate moves like the “Slip-n-Slide.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was a horrid time for fundamental basketball, and a glorious time for highlight reels.\u003c/p>\n\u003cfigure id=\"attachment_13842909\" 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/DefremeryMural-800x450.jpg\" alt=\"An overhead view of the courts at DeFremery Park, newly painted by the Illuminaries.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13842909\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/DefremeryMural-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An overhead view of the courts at DeFremery Park, newly painted by the Illuminaries. \u003ccite>(Salvatore Fullmore)\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>vidently, there are forces trying to revive that era, as And1 is making a comeback. And with that comeback, they may be bridging the gap between two generations of ballers and hip-hop artists. I mean, there weren’t any young hoopers of note from the Bay Area on stage with Garnett & Co., but the young artists exchanging convos with the elder statesmen was a good sign.\u003c/p>\n\u003cp>I’m sure older hip-hop heads would appreciate that the “elements of hip-hop” were also present. Young people danced as the DJ played hit songs, the emcee did a slight call-and-response as the sponsors passed out basketballs and shirts. And the element of graffiti—in the form of a mural, at least—was front and center. \u003c/p>\n\u003cp>The Illuminaries, a Bay Area-based collective of artists composed of Tim Hon, Steve Ha, and Romali Licudan (who was out of town for this project), worked with Steven Anderson and Eric Nodora to lay down a few layers of paint on the hoop courts; and, as usual, incorporated local flavor into their art.\u003c/p>\n\u003cfigure id=\"attachment_13842913\" 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/E-40.DeFremery-800x535.jpg\" alt=\"E-40 at DeFremery Park in West Oakland, Oct. 12, 2018.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13842913\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/E-40.DeFremery-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E-40 at DeFremery Park in West Oakland, Oct. 12, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a Hieroglyphics emblem in one corner of the court. MC Hammer’s signature is in another spot. Not too far from Hammer is the name of Darryl “Lil D” Reed, the former drug kingpin-turned-author, who was pardoned under the Obama Administration after serving 26 years.\u003c/p>\n\u003cp>“This is history right here,” E-40 told Steve Ha, as he pointed to Reed. “You need to take a picture with him!” \u003c/p>\n\u003cp>Ha told me that Reed applauded the efforts of the artists, shaking their hands and telling them, “It’s all about doing something positive for the community.” \u003c/p>\n\u003cp>And the Illuminaries have been doing it for the community for years—putting paint where it ain’t, as some might say.\u003c/p>\n\u003cfigure id=\"attachment_13842898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/0-4-800x535.jpg\" alt=\"Tim Hon and Steve Ha of the Illuminaries.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13842898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-4.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tim Hon and Steve Ha of the Illuminaries. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ha told me that their first big piece was in 2012, when they did a mural featuring the 49ers, which was signed by Vernon Davis. The piece made it to the local news.\u003c/p>\n\u003cp>I first saw their work in 2015, when I took \u003ca href=\"https://twitter.com/OGpenn/status/609377931425550339\" rel=\"noopener\" target=\"_blank\">this picture\u003c/a> of their portrait of Steph Curry, painted in the likeness of Mac Dre. The pic blew up, and since then I’ve seen the Illuminaries work all over town.\u003c/p>\n\u003cp>There’s another one of Steph alongside the 980 freeway, on the side of the Jamtown building. There’s a big piece on the side of the Marriott in downtown Oakland, a promo piece for the city. And there’s the \u003ca href=\"https://twitter.com/whatwoulddoodo/status/847896841047785472\" rel=\"noopener\" target=\"_blank\">enormous mural of Stomper the elephant\u003c/a> in downtown Oakland, on 19th and Webster, the biggest homage to the A’s being rooted in the Town.\u003c/p>\n\u003cp>The Illuminaries have found a niche, and painting sports and hip-hop culture seems to be working; not just for them, but for the community as well.\u003c/p>\n\u003cp>“There’s so much overlap between sports and art. And they both have the ability to put hate and prejudice aside, and allow people to come together,” Ha told me. “This might be our path.”\u003c/p>\n\u003cfigure id=\"attachment_13842897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/0-800x535.jpg\" alt=\"DaBoii and Yhung T.O. of SOBxRBE at DeFremery Park in Oakland, Oct. 12, 2018.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13842897\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DaBoii and Yhung T.O. of SOBxRBE at DeFremery Park in Oakland, Oct. 12, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he Illuminaries’ finished work will be shown during the Warriors game on Tuesday night, as part of TNT’s broadcast for the start of the NBA season. And throughout the season, the group will continue to paint community courts in four more cities across America between now and the NBA finals.\u003c/p>\n\u003cp>As And1 makes its resurgence, I think it’s cool to note that the overlap between hip-hop and sports hasn’t gone anywhere since I was a kid—in fact, it’s grown. Migos songs are played prior to MLB playoff games and YG is the (unofficial) spokesperson for the L.A. Rams.\u003c/p>\n\u003cp>And on top of that, all the classic elements of hip-hop—the emcee, the DJ, the dancer, and the graffiti writer—are all still present.\u003c/p>\n\u003cfigure id=\"attachment_13842901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/0-2-800x535.jpg\" alt=\"Kids scream for a free basketball at DeFremery Park, Oct. 12, 2018.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13842901\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/0-2.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kids scream for a free basketball at DeFremery Park, Oct. 12, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But I still wondered about the fifth element. You know: knowledge. Knowledge of the history of legends from years ago, their accomplishments and what they said when they reached the top of their game.\u003c/p>\n\u003cp>My question was answered when Garnett made his way from the stage for the ribbon-cutting ceremony at the newly painted basketball courts. He hurried through the crowd, but crossed the path of a young man who screamed, “Anything is possible!” at the top of lungs as the seven-footer walked past. The quote, of course, is Garnett’s \u003ca href=\"https://www.youtube.com/watch?v=Wcz_kDCBTBk\" rel=\"noopener\" target=\"_blank\">classic exclamation of joy\u003c/a> after winning the 2008 NBA championship with the Boston Celtics.\u003c/p>\n\u003cp>I laughed as I took a photo of the moment. I guess they do know who KG is after all.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Ryan Coogler, the Oakland-raised film director behind Fruitvale Station and Black Panther, has signed on to write and direct Black Panther II, according to \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/black-panther-2-ryan-coogler-write-direct-sequel-1151626?utm_source=twitter&utm_source=t.co&utm_medium=referral\">a report\u003c/a> by \u003cem>The Hollywood Reporter\u003c/em>.\u003c/p>\n\u003cp>Though Coogler was the obvious choice to direct a sequel to Black Panther—a smash hit which made $700 million at the domestic box office—today’s news includes the detail that Coogler will write the script next year with an eye to start production in either late 2019 or early 2020.\u003c/p>\n\u003cp>Coogler has long talked about the ways that Oakland shaped his creative vision. He appeared at premieres for both \u003cem>Fruitvale Station\u003c/em> and \u003cem>Black Panther\u003c/em> at the Grand Lake Theater, testifying to the city’s inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ryan Coogler, the Oakland-raised film director behind Fruitvale Station and Black Panther, has signed on to write and direct Black Panther II, according to \u003ca href=\"https://www.hollywoodreporter.com/heat-vision/black-panther-2-ryan-coogler-write-direct-sequel-1151626?utm_source=twitter&utm_source=t.co&utm_medium=referral\">a report\u003c/a> by \u003cem>The Hollywood Reporter\u003c/em>.\u003c/p>\n\u003cp>Though Coogler was the obvious choice to direct a sequel to Black Panther—a smash hit which made $700 million at the domestic box office—today’s news includes the detail that Coogler will write the script next year with an eye to start production in either late 2019 or early 2020.\u003c/p>\n\u003cp>Coogler has long talked about the ways that Oakland shaped his creative vision. He appeared at premieres for both \u003cem>Fruitvale Station\u003c/em> and \u003cem>Black Panther\u003c/em> at the Grand Lake Theater, testifying to the city’s inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Restorative Justice—for Oakland, and America",
"headTitle": "Restorative Justice—for Oakland, and America | 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\">“I\u003c/span>t’s been a big week, in so many ways,” said Law Professor Andrea Roth, as she spoke to the crowd at Boalt Law School on the UC Berkeley campus last Friday.\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>Roth was referring to the ample coverage of Supreme Court nominee Brett Kavanaugh, and the cascading reports of his involvement in cases of sexual assault, overconsumption of alcohol and lying under oath. Even if I’d wanted, I couldn’t dodge clips from the hearing, with its questions from elected officials and resentful testimony from Kavanaugh—it was a show. Underneath it all were ever-present divisions based on the -isms that create a social hierarchy that plays out all across this country, from classrooms to courtrooms. And I knew how this show would end.\u003c/p>\n\u003cp>I needed to change the channel; I needed see an example of justice actually being served. And that’s why I was in the lecture hall at Berkeley’s law school Friday night, in the back, my hat pulled low, eating pupusas along with the rest of the audience: educators, nonprofit workers, a grad student here, a PhD student there, and a handful of academic administrators. There was one young man who also had his hat low—but I could tell he had more tattoos than I do, because they protruded from the sleeves covering his arms.\u003c/p>\n\u003cp>We were gathered to watch a documentary called \u003cem>\u003ca href=\"https://www.circlesmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Circles\u003c/a>\u003c/em>, an award-winning film by Cassidy Friedman, which focuses on the practice of restorative justice as a means to solve problems within a school setting.\u003c/p>\n\u003cfigure id=\"attachment_13842124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-800x533.jpg\" alt=\"Cassidy Friedman, director of 'Circles,' with film subject Eric Butler.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassidy Friedman, director of ‘Circles,’ with film subject Eric Butler. (L–R) \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school in which the film is set is West Oakland’s Ralph Bunche High School, often referred to as a continuation school, which specializes in giving young people a second chance at doing the academic work necessary to earn credits and graduate. A couple of years ago I taught an after-school class there, around the time the documentary was filmed. And though I didn’t know any of the students in the film, I knew the main subject, Eric Butler, the campus’ restorative justice Coordinator.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was familiar with the practice of restorative justice through previous educational gigs, plus my good friend Spencer Whitney had \u003ca href=\"https://www.sfchronicle.com/opinion/editorials/article/Alternatives-to-school-suspensions-show-promise-8347210.php#photo-10499151\" target=\"_blank\" rel=\"noopener noreferrer\">written about it\u003c/a> for the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>I had also heard about restorative justice in prisons, and how people used it to heal fractured romantic relationships. I’d even heard how restorative justice was rooted in ancient exercises, where people of early civilizations would gather, sit in circle, and converse in order to resolve issues amongst the community.\u003c/p>\n\u003cp>But I had never seen it done how Butler did it. Not until I saw the film \u003cem>Circles\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13842128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842128\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-800x457.jpg\" alt=\"Eric Butler, at right, is featured in the new documentary 'Circles.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Butler, at right, is featured in the new documentary ‘Circles.’ \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\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>utler is this charismatic, short and stocky, African American man who has roots in New Orleans and moved out west after Hurricane Katrina; his southern accent still sometimes makes appearances in his speech.\u003c/p>\n\u003cp>In the film, Butler is shown as a whole human—flawed in his own right, but trying to do good in this world. He has a big heart, but often becomes stressed by the work he does, causing him to lean on smoking cigarettes as a catharsis. He’s a father, trying to raise a teenage African American man in Oakland. He’s an educator, working to do the impossible: give justice to working class black and brown children.\u003c/p>\n\u003cp>According to Butler, restorative justice is about establishing a common value system, the first step to repairing a damaged relationship. “We’ve never experienced justice,” he says in the film, “we just want to make things as just as possible.”\u003c/p>\n\u003cp>I thought to myself: \u003cem>How can you restore justice to a people who never had justice in the first place?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13842130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/EricButlerPanel-800x533.jpg\" alt=\"Eric Butler at a screening of the new documentary 'Circles.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Butler at a screening of the new documentary ‘Circles.’ \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film had some thought-provoking content, some corny points, and a few spots where tears reached the thresholds of my eyelids.\u003c/p>\n\u003cp>Case in point: not too far into the film, one of the young ladies that Butler works with opens up to him, and the other students in the class, about being raped when she was younger. Her story comes after a light conversation, and is blindsiding. She recalls being a preteen, her mother’s boyfriend abusing his access to the house and walking into the child’s bedroom. She shares memories of how she tried to hide in the closet, to no avail. She tells Butler how she was silenced during the act. Lastly, she expresses how she still lives with thoughts that she has yet to fully process—although she’s years removed from the heinous act.\u003c/p>\n\u003cp>The comparisons to Christine Blasey Ford’s testimony—and the many, many people sharing stories under the “Why I Didn’t Report” hashtag—were clear on Friday night. And in the film, Butler takes the lighthearted conversation-turned-heavy traumatic tale a step further: he divulges information about his own experience of being molested as a child.\u003c/p>\n\u003cp>He established common ground. He opened up to the young girl, and the other students, and let them know that they’re not alone. It wasn’t a competitive comparison of pain, or a dismissing “Oh, we’ve all been through some shit,” it was a nod, like: “Hey, I’m here. I see you.”\u003c/p>\n\u003cp>After their conversation, hugs are exchanged, and the film proceeds to show more examples of restorative justice circles. But that one sticks with me.\u003c/p>\n\u003cfigure id=\"attachment_13842125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-800x448.jpg\" alt=\"Eric Butler speaks at a screening of the new documentary 'Circles.'\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-1200x673.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-520x291.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Butler speaks at a screening of the new documentary ‘Circles.’ \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\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\">O\u003c/span>ne thing to note is that restorative justice isn’t clean-cut. There is no pretty bow tied on at the end of the process. There isn’t really even an end to the process; it’s an ongoing conversation and constant healing mechanism. And even still, it doesn’t always work; both Butler and Friedman know that.\u003c/p>\n\u003cp>But statistics show that Ralph Bunche High School has had a greater graduation rate and lower suspension rate since incorporating restorative justice practices. And along with those numbers are anecdotal stories of healing that are universally relevant.\u003c/p>\n\u003cp>During the Q&A after the film’s screening, Butler signaled for the guy with the low hat and tattoos to come to the front of the crowd; it was his son. Butler noted that raising a young man in a place where he didn’t know many people was only made possible by having a strong circle around him. Not a restorative justice circle, just an ever-present circle of people in order to deal with the ups and downs of life.\u003c/p>\n\u003cp>I was still in my seat, hat even lower, pupusa fully consumed, and holding on to a burning question: How can you take this method of resolving problems by coming together around a common value system, and bring it to two warring factions on a larger level—say, maybe Congress?\u003c/p>\n\u003cp>Co-producer Becca Vershbow told me that there is a screening in the works for members of Congress, hopefully in December of this year. Which of course will be after the Kavanaugh appointment and the midterm elections.\u003c/p>\n\u003cfigure id=\"attachment_13842123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842123\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-800x447.jpg\" alt=\"Eric Butler with his son at a screening of the new documentary 'Circles.'\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-1200x670.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-1180x659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-960x536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-520x290.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Butler with his son at a screening of the new documentary ‘Circles.’ \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days later I had a follow-up conversation with Friedman. “I want this message to reach people in schools primarily,” he told me, “but I also want companies to start looking at themselves as community. When you’re at work, that’s your community. If you’re not building relationships there, you’re failing.”\u003c/p>\n\u003cp>Friedman said he’s excited to get down to Silicon Valley, in hopes of addressing the inequalities shown by dominant white male culture and the \u003ca href=\"https://www.wired.com/story/travis-kalanicks-return-and-the-bad-boys-who-always-come-back/\" target=\"_blank\" rel=\"noopener noreferrer\">flimsy efforts to change it\u003c/a>. Friedman said he’s interested in showing how community can be built by “establishing and maintaining relationships based on shared values.”\u003c/p>\n\u003cp>I got off the phone and thought about it. Changing the culture in a continuation school is one thing, changing it in Silicon Valley is a long shot, and changing it in America is nearly impossible.\u003c/p>\n\u003cp>After all, the problem in America might just be that all Americans weren’t represented when we established the “common shared values” we ostensibly abide by.\u003c/p>\n\u003cp>And again, I ask: \u003cem>How can you restore justice to a people who never had justice in the first place?\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\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\">“I\u003c/span>t’s been a big week, in so many ways,” said Law Professor Andrea Roth, as she spoke to the crowd at Boalt Law School on the UC Berkeley campus last Friday.\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>Roth was referring to the ample coverage of Supreme Court nominee Brett Kavanaugh, and the cascading reports of his involvement in cases of sexual assault, overconsumption of alcohol and lying under oath. Even if I’d wanted, I couldn’t dodge clips from the hearing, with its questions from elected officials and resentful testimony from Kavanaugh—it was a show. Underneath it all were ever-present divisions based on the -isms that create a social hierarchy that plays out all across this country, from classrooms to courtrooms. And I knew how this show would end.\u003c/p>\n\u003cp>I needed to change the channel; I needed see an example of justice actually being served. And that’s why I was in the lecture hall at Berkeley’s law school Friday night, in the back, my hat pulled low, eating pupusas along with the rest of the audience: educators, nonprofit workers, a grad student here, a PhD student there, and a handful of academic administrators. There was one young man who also had his hat low—but I could tell he had more tattoos than I do, because they protruded from the sleeves covering his arms.\u003c/p>\n\u003cp>We were gathered to watch a documentary called \u003cem>\u003ca href=\"https://www.circlesmovie.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Circles\u003c/a>\u003c/em>, an award-winning film by Cassidy Friedman, which focuses on the practice of restorative justice as a means to solve problems within a school setting.\u003c/p>\n\u003cfigure id=\"attachment_13842124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-800x533.jpg\" alt=\"Cassidy Friedman, director of 'Circles,' with film subject Eric Butler.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.CassidyEric-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cassidy Friedman, director of ‘Circles,’ with film subject Eric Butler. (L–R) \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The school in which the film is set is West Oakland’s Ralph Bunche High School, often referred to as a continuation school, which specializes in giving young people a second chance at doing the academic work necessary to earn credits and graduate. A couple of years ago I taught an after-school class there, around the time the documentary was filmed. And though I didn’t know any of the students in the film, I knew the main subject, Eric Butler, the campus’ restorative justice Coordinator.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was familiar with the practice of restorative justice through previous educational gigs, plus my good friend Spencer Whitney had \u003ca href=\"https://www.sfchronicle.com/opinion/editorials/article/Alternatives-to-school-suspensions-show-promise-8347210.php#photo-10499151\" target=\"_blank\" rel=\"noopener noreferrer\">written about it\u003c/a> for the \u003cem>San Francisco Chronicle\u003c/em>.\u003c/p>\n\u003cp>I had also heard about restorative justice in prisons, and how people used it to heal fractured romantic relationships. I’d even heard how restorative justice was rooted in ancient exercises, where people of early civilizations would gather, sit in circle, and converse in order to resolve issues amongst the community.\u003c/p>\n\u003cp>But I had never seen it done how Butler did it. Not until I saw the film \u003cem>Circles\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13842128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842128\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-800x457.jpg\" alt=\"Eric Butler, at right, is featured in the new documentary 'Circles.'\" width=\"800\" height=\"457\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-800x457.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-768x438.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-1020x582.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-1200x685.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-1180x674.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-960x548.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Men_-520x297.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Butler, at right, is featured in the new documentary ‘Circles.’ \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\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>utler is this charismatic, short and stocky, African American man who has roots in New Orleans and moved out west after Hurricane Katrina; his southern accent still sometimes makes appearances in his speech.\u003c/p>\n\u003cp>In the film, Butler is shown as a whole human—flawed in his own right, but trying to do good in this world. He has a big heart, but often becomes stressed by the work he does, causing him to lean on smoking cigarettes as a catharsis. He’s a father, trying to raise a teenage African American man in Oakland. He’s an educator, working to do the impossible: give justice to working class black and brown children.\u003c/p>\n\u003cp>According to Butler, restorative justice is about establishing a common value system, the first step to repairing a damaged relationship. “We’ve never experienced justice,” he says in the film, “we just want to make things as just as possible.”\u003c/p>\n\u003cp>I thought to myself: \u003cem>How can you restore justice to a people who never had justice in the first place?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13842130\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842130\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/EricButlerPanel-800x533.jpg\" alt=\"Eric Butler at a screening of the new documentary 'Circles.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/EricButlerPanel-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Butler at a screening of the new documentary ‘Circles.’ \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film had some thought-provoking content, some corny points, and a few spots where tears reached the thresholds of my eyelids.\u003c/p>\n\u003cp>Case in point: not too far into the film, one of the young ladies that Butler works with opens up to him, and the other students in the class, about being raped when she was younger. Her story comes after a light conversation, and is blindsiding. She recalls being a preteen, her mother’s boyfriend abusing his access to the house and walking into the child’s bedroom. She shares memories of how she tried to hide in the closet, to no avail. She tells Butler how she was silenced during the act. Lastly, she expresses how she still lives with thoughts that she has yet to fully process—although she’s years removed from the heinous act.\u003c/p>\n\u003cp>The comparisons to Christine Blasey Ford’s testimony—and the many, many people sharing stories under the “Why I Didn’t Report” hashtag—were clear on Friday night. And in the film, Butler takes the lighthearted conversation-turned-heavy traumatic tale a step further: he divulges information about his own experience of being molested as a child.\u003c/p>\n\u003cp>He established common ground. He opened up to the young girl, and the other students, and let them know that they’re not alone. It wasn’t a competitive comparison of pain, or a dismissing “Oh, we’ve all been through some shit,” it was a nod, like: “Hey, I’m here. I see you.”\u003c/p>\n\u003cp>After their conversation, hugs are exchanged, and the film proceeds to show more examples of restorative justice circles. But that one sticks with me.\u003c/p>\n\u003cfigure id=\"attachment_13842125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-800x448.jpg\" alt=\"Eric Butler speaks at a screening of the new documentary 'Circles.'\" width=\"800\" height=\"448\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-800x448.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-768x430.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-1200x673.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-1180x661.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Berkeleyclass-520x291.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Butler speaks at a screening of the new documentary ‘Circles.’ \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\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\">O\u003c/span>ne thing to note is that restorative justice isn’t clean-cut. There is no pretty bow tied on at the end of the process. There isn’t really even an end to the process; it’s an ongoing conversation and constant healing mechanism. And even still, it doesn’t always work; both Butler and Friedman know that.\u003c/p>\n\u003cp>But statistics show that Ralph Bunche High School has had a greater graduation rate and lower suspension rate since incorporating restorative justice practices. And along with those numbers are anecdotal stories of healing that are universally relevant.\u003c/p>\n\u003cp>During the Q&A after the film’s screening, Butler signaled for the guy with the low hat and tattoos to come to the front of the crowd; it was his son. Butler noted that raising a young man in a place where he didn’t know many people was only made possible by having a strong circle around him. Not a restorative justice circle, just an ever-present circle of people in order to deal with the ups and downs of life.\u003c/p>\n\u003cp>I was still in my seat, hat even lower, pupusa fully consumed, and holding on to a burning question: How can you take this method of resolving problems by coming together around a common value system, and bring it to two warring factions on a larger level—say, maybe Congress?\u003c/p>\n\u003cp>Co-producer Becca Vershbow told me that there is a screening in the works for members of Congress, hopefully in December of this year. Which of course will be after the Kavanaugh appointment and the midterm elections.\u003c/p>\n\u003cfigure id=\"attachment_13842123\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13842123\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-800x447.jpg\" alt=\"Eric Butler with his son at a screening of the new documentary 'Circles.'\" width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-800x447.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-768x429.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-1020x570.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-1200x670.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-1180x659.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-960x536.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Circles.Eric_.Son_-520x290.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eric Butler with his son at a screening of the new documentary ‘Circles.’ \u003ccite>(Courtesy Cassidy Friedman/Stories Matter Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Days later I had a follow-up conversation with Friedman. “I want this message to reach people in schools primarily,” he told me, “but I also want companies to start looking at themselves as community. When you’re at work, that’s your community. If you’re not building relationships there, you’re failing.”\u003c/p>\n\u003cp>Friedman said he’s excited to get down to Silicon Valley, in hopes of addressing the inequalities shown by dominant white male culture and the \u003ca href=\"https://www.wired.com/story/travis-kalanicks-return-and-the-bad-boys-who-always-come-back/\" target=\"_blank\" rel=\"noopener noreferrer\">flimsy efforts to change it\u003c/a>. Friedman said he’s interested in showing how community can be built by “establishing and maintaining relationships based on shared values.”\u003c/p>\n\u003cp>I got off the phone and thought about it. Changing the culture in a continuation school is one thing, changing it in Silicon Valley is a long shot, and changing it in America is nearly impossible.\u003c/p>\n\u003cp>After all, the problem in America might just be that all Americans weren’t represented when we established the “common shared values” we ostensibly abide by.\u003c/p>\n\u003cp>And again, I ask: \u003cem>How can you restore justice to a people who never had justice in the first place?\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "how-will-california-have-clean-energy-by-2045-with-a-little-help-from-oakland",
"title": "How Will California Have Clean Energy by 2045? With a Little Help From Oakland",
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"headTitle": "How Will California Have Clean Energy by 2045? With a Little Help From Oakland | 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 soon as I read the news that Governor Brown signed SB 100, a bill requiring California to become 100-percent carbon-free and clean energy efficient by 2045, I sent a text to my friend Mark Hall. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" 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>\u003cem>How is that possible?\u003c/em>, I asked. \u003cem>Who’s going to make it happen?\u003c/em> \u003c/p>\n\u003cp>Hall said he’d break it all down for me—including how it affects low-income kids in the flatlands of Oakland. We agreed to meet and talk about energy at a café called Kilovolt. Fitting. \u003c/p>\n\u003cp>The café is in West Oakland; it’s one of those dog-friendly joints that serves open-face sandwiches with avocado smear. Hall pulled up wearing a blue collared shirt and some avocado colored pants, and carrying a box full of materials he was set to deliver to Skyline High School, his alma mater.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hall said he’d gotten the materials free of charge, notebooks full of information about developing clean energy lesson plans, simply by \u003ca href=\"https://www.pge.com/en_US/residential/in-your-community/education-programs/education-programs/educational-resources/for-students/for-teachers.page\" rel=\"noopener\" target=\"_blank\">requesting them\u003c/a> from PG&E.\u003c/p>\n\u003cp>Hall explained to me that PG&E, longtime energy provider to Alameda County, has partnered with East Bay Community Energy to deliver clean, renewable energy at lower rates. This model has been replicated clear across the state; it’s called \u003ca href=\"https://www.kqed.org/science/1920881/locally-owned-providers-take-on-californias-power-monopoly\" rel=\"noopener\" target=\"_blank\">Community Choice Aggregation\u003c/a>. Marin County was the first on record to adopt it. \u003c/p>\n\u003cp>But that’s the higher-level info about how California is moving toward 100-percent clean energy. I wanted to know about the boots-on-the-ground kind of work. I needed more tangible examples; this clean energy conversation had always seemed too lofty to wrap my mind around. \u003c/p>\n\u003cp>My earliest memories of the concept of clean energy, for example, had something to do with the windmills near the Altamont Pass—the ones we saw when we drove down to Disneyland. And even then, there was a disconnect between how the energy is generated to how I could use it as a consumer, let alone get a career in the field. \u003c/p>\n\u003cfigure id=\"attachment_13841656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-800x800.jpg\" alt=\"Mark Hall at the Green and Social Bond Principles Annual Conference in Hong Kong.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13841656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Hall at the Green and Social Bond Principles Annual Conference in Hong Kong. \u003ccite>(Courtesy Mark Hall)\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\">H\u003c/span>all doesn’t have that problem. His work is integrated into the the clean energy pipeline, from working to inform people about financial assistance on their energy bills to breaking down legislative bills. An African American man from Oakland who’s working to ensure young people from Oakland know what’s up when it comes to clean energy—if he’s not an anomaly, who is? \u003c/p>\n\u003cp>Hall works with Dr. Ayo Akatugba, director of the Green Energy Pathway at Skyline, to ensure that students on the hillside are clear on the concept of clean energy, as well as to promote career pathways. In the flatlands of East and West Oakland, Hall has teamed up with Johnnie Williams, CIS Director at Laney College. Williams, who knows Hall from their high school football days, teaches classes about clean energy at Oakland High, McClymonds and Oakland Tech; Williams tells me that all of the classes are good for community college credits. \u003c/p>\n\u003cp>Hall has also teamed up with local organizations in support of Oakland Parks and Rec’s initiative to create a business plan competition for people ages 14-21 who live within a mile radius of either Willie Keyes Recreation Center at Poplar Park or the Brookdale Recreation Center on High Street. All the young folks have to do is attend a few workshops and then submit an idea about creating clean sustainable energy, and they’ll \u003ca href=\"https://www.eventbrite.com/e/1000-youth-business-plan-competition-tickets-49366976957\" rel=\"noopener\" target=\"_blank\">have a chance to win $1,000\u003c/a>. (The application deadline is Nov. 7.)\u003c/p>\n\u003cp>And the best part: the business plan doesn’t have to be your traditional PowerPoint presentation. Nope, instead, Hall says they’d prefer if it were done artistically.\u003c/p>\n\u003cp>“There’s a certain level of creativity that’s expressed through traditional business plans,” Hall told me, as we sat on a bench outside the café. “But there’s a whole different level of communications that gets expressed through arts and culture.” He said it’s the old theory about some people being “left brained” and some people being “right brained.” \u003c/p>\n\u003cp>He also said it’s similar to the tech industry, where teaching people about coding and engineering can seem too lofty of a concept, causing it to go over a lot of peoples’ heads. But if it were done in an interpretive way, say maybe through song, dance—hell, even a joke or a meme—people of different backgrounds might gravitate to the industry a bit more. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-800x314.jpg\" alt=\"\" width=\"800\" height=\"314\" class=\"aligncenter size-medium wp-image-13841653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-1180x463.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-960x377.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-240x94.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-375x147.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-520x204.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings.jpg 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Different backgrounds” is often code language for low-income people of color, a demographic that’s largely been disenfranchised from the tech industry since before Al Gore advocated for the internet. Hall fears the same type of exclusion will occur in the burgeoning clean energy industry. According to some of the current stats about the industry, Hall has reason to be alarmed. \u003c/p>\n\u003cp>“Building science occupation jobs were 87.2% Male and 79% White (Not Hispanic or Latino),” according to a 2015 report from the National Institute of Building Sciences. \u003c/p>\n\u003cp>It’s important to note that California has more energy efficiency jobs than any other state, more than 300,000. That’s more than double the number of those in Texas, the state in second place, according to \u003ca href=\"https://www.e2.org/wp-content/uploads/2018/09/CALIFORNIA-Dist.pdf\" rel=\"noopener\" target=\"_blank\">a report\u003c/a> from e2.org and E4TheFuture.Org. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHallGraph-800x608.png\" alt=\"\" width=\"800\" height=\"608\" class=\"aligncenter size-medium wp-image-13841655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-768x584.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-1200x912.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-1180x897.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-960x730.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-240x182.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-375x285.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-520x395.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph.png 1460w\" 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\">N\u003c/span>ow that you’ve grasped just how many clean energy jobs are in California, and just how white and male the industry is, check this out: according to \u003ca href=\"https://www.mynextmove.org/profile/ext/apprenticeships/13-1199.01?s=CA&g=Go\" rel=\"noopener\" target=\"_blank\">MyNextMove.Org\u003c/a>, a site backed by the U.S. Department of Labor, California doesn’t have a single state-approved apprenticeship program for energy auditors; that occupation isn’t even listed on the \u003ca href=\"https://www.dir.ca.gov/databases/das/aigstart.asp\" rel=\"noopener\" target=\"_blank\">official government page\u003c/a> for apprenticeships in California.\u003c/p>\n\u003cp>So, there’s a huge barrier to entry to an industry that’s obviously going to grow in the next couple of decades given the recent legislation signed by Governor Brown. Although apprenticeships aren’t the only ticket into the game, they serve as an inexpensive clear path to a long career in the world of clean energy. Otherwise, Hall tells me, a lot of people get into this industry by way of family members’ professions or expensive college classes; two routes which have inherent hurdles for outsiders.\u003c/p>\n\u003cfigure id=\"attachment_13841651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-800x535.jpg\" alt=\"Mark Hall. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13841651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Hall. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> was impressed. Hall had managed to not only explain to me what the move toward clean energy was all about, but where the gaps were, as well as what’s at stake if these gaps aren’t filled. \u003c/p>\n\u003cp>Hall’s boots-on-the-ground work with young people in Oakland isn’t just about the future of our community. It speaks directly to the future of our country’s economy—which we all know has influence on the future of our country’s judicial system, education system, political system, you name it. \u003c/p>\n\u003cp>And Hall isn’t just a clean energy evangelist, trying to get young people employed in the industry—he understands that might not be everyone’s cup of tea. He’s also focused on the people who are overpaying every month on their energy bills.\u003c/p>\n\u003cp>Hall told me about the California Alternate Rates for Energy program, or “C.A.R.E” accounts, which are financial assistance programs for energy customers. If you still get a paper bill in the mail, you get annual pamphlets for it. And if you’re like most people, you probably give it a passing glance before throwing it in the trash.\u003c/p>\n\u003cp>Hall wants to make people aware of it. Again, working with his childhood buddy Williams at Laney College, he’s backing an effort to map over 47,000 buildings all around Oakland where people are eligible for this assistance. The buildings will be mapped by some of Williams’ students at Laney, and then the occupants will be contacted, and asked about having energy audits conducted on their buildings. These audits will show customers ways they can spend less money on their monthly bills. \u003c/p>\n\u003cfigure id=\"attachment_13841654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-800x600.jpg\" alt=\"Mark Hall at a renewable energy conference in Morocco.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13841654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Hall at a renewable energy conference in Morocco. \u003ccite>(Courtesy Mark Hall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For an idea of what this might look like, check out \u003ca href=\"https://serv.cusp.nyu.edu/projects/evt/\" rel=\"noopener\" target=\"_blank\">this map\u003c/a> that charts the energy and water usage of 26,000 buildings in New York from 2013–2014. Through this process, New York not only helped a bunch of people on their energy and water bills, but also created over 7,700 jobs in three years. \u003c/p>\n\u003cp>Hall becomes animated when talking about this topic, his eyes get large and he talks with his hands. His passion is infectious. And he gets it: you say the words clean energy, and people often think it’s a concept beyond them. Hall breaks it down in layman’s terms. Like when I asked where we traditionally got energy in the first place, Hall responded by talking about fossil fuels and nuclear energy—like, how Homer Simpson worked at a power plant.\u003c/p>\n\u003cp>I was like, “Oh, I know Homer Simpson!” \u003c/p>\n\u003cp>Through our café convo, I got it. Well, I got enough to start to understand how California will move toward becoming more energy efficient. And more importantly, I learned how the next “boom” won’t necessarily be about coding and engineering, but clean energy development and implementation. \u003c/p>\n\u003cp>And just when it was all making sense to me, Hall started telling me about Green Bonds and how the S&P market works. There wasn’t enough coffee in the café to allow my brain to comprehend it all.\u003c/p>\n\u003cp>I let him talk, though, all the while thinking of something he’d told me when we first sat down, a quote about the long game involved in California becoming clean by 2045: “You can’t boil the whole ocean at one time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\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 soon as I read the news that Governor Brown signed SB 100, a bill requiring California to become 100-percent carbon-free and clean energy efficient by 2045, I sent a text to my friend Mark Hall. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" class=\"alignright size-thumbnail wp-image-13833985\" 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>\u003cem>How is that possible?\u003c/em>, I asked. \u003cem>Who’s going to make it happen?\u003c/em> \u003c/p>\n\u003cp>Hall said he’d break it all down for me—including how it affects low-income kids in the flatlands of Oakland. We agreed to meet and talk about energy at a café called Kilovolt. Fitting. \u003c/p>\n\u003cp>The café is in West Oakland; it’s one of those dog-friendly joints that serves open-face sandwiches with avocado smear. Hall pulled up wearing a blue collared shirt and some avocado colored pants, and carrying a box full of materials he was set to deliver to Skyline High School, his alma mater.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hall said he’d gotten the materials free of charge, notebooks full of information about developing clean energy lesson plans, simply by \u003ca href=\"https://www.pge.com/en_US/residential/in-your-community/education-programs/education-programs/educational-resources/for-students/for-teachers.page\" rel=\"noopener\" target=\"_blank\">requesting them\u003c/a> from PG&E.\u003c/p>\n\u003cp>Hall explained to me that PG&E, longtime energy provider to Alameda County, has partnered with East Bay Community Energy to deliver clean, renewable energy at lower rates. This model has been replicated clear across the state; it’s called \u003ca href=\"https://www.kqed.org/science/1920881/locally-owned-providers-take-on-californias-power-monopoly\" rel=\"noopener\" target=\"_blank\">Community Choice Aggregation\u003c/a>. Marin County was the first on record to adopt it. \u003c/p>\n\u003cp>But that’s the higher-level info about how California is moving toward 100-percent clean energy. I wanted to know about the boots-on-the-ground kind of work. I needed more tangible examples; this clean energy conversation had always seemed too lofty to wrap my mind around. \u003c/p>\n\u003cp>My earliest memories of the concept of clean energy, for example, had something to do with the windmills near the Altamont Pass—the ones we saw when we drove down to Disneyland. And even then, there was a disconnect between how the energy is generated to how I could use it as a consumer, let alone get a career in the field. \u003c/p>\n\u003cfigure id=\"attachment_13841656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-800x800.jpg\" alt=\"Mark Hall at the Green and Social Bond Principles Annual Conference in Hong Kong.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13841656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.HongKong.GreenBond.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Hall at the Green and Social Bond Principles Annual Conference in Hong Kong. \u003ccite>(Courtesy Mark Hall)\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\">H\u003c/span>all doesn’t have that problem. His work is integrated into the the clean energy pipeline, from working to inform people about financial assistance on their energy bills to breaking down legislative bills. An African American man from Oakland who’s working to ensure young people from Oakland know what’s up when it comes to clean energy—if he’s not an anomaly, who is? \u003c/p>\n\u003cp>Hall works with Dr. Ayo Akatugba, director of the Green Energy Pathway at Skyline, to ensure that students on the hillside are clear on the concept of clean energy, as well as to promote career pathways. In the flatlands of East and West Oakland, Hall has teamed up with Johnnie Williams, CIS Director at Laney College. Williams, who knows Hall from their high school football days, teaches classes about clean energy at Oakland High, McClymonds and Oakland Tech; Williams tells me that all of the classes are good for community college credits. \u003c/p>\n\u003cp>Hall has also teamed up with local organizations in support of Oakland Parks and Rec’s initiative to create a business plan competition for people ages 14-21 who live within a mile radius of either Willie Keyes Recreation Center at Poplar Park or the Brookdale Recreation Center on High Street. All the young folks have to do is attend a few workshops and then submit an idea about creating clean sustainable energy, and they’ll \u003ca href=\"https://www.eventbrite.com/e/1000-youth-business-plan-competition-tickets-49366976957\" rel=\"noopener\" target=\"_blank\">have a chance to win $1,000\u003c/a>. (The application deadline is Nov. 7.)\u003c/p>\n\u003cp>And the best part: the business plan doesn’t have to be your traditional PowerPoint presentation. Nope, instead, Hall says they’d prefer if it were done artistically.\u003c/p>\n\u003cp>“There’s a certain level of creativity that’s expressed through traditional business plans,” Hall told me, as we sat on a bench outside the café. “But there’s a whole different level of communications that gets expressed through arts and culture.” He said it’s the old theory about some people being “left brained” and some people being “right brained.” \u003c/p>\n\u003cp>He also said it’s similar to the tech industry, where teaching people about coding and engineering can seem too lofty of a concept, causing it to go over a lot of peoples’ heads. But if it were done in an interpretive way, say maybe through song, dance—hell, even a joke or a meme—people of different backgrounds might gravitate to the industry a bit more. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-800x314.jpg\" alt=\"\" width=\"800\" height=\"314\" class=\"aligncenter size-medium wp-image-13841653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-800x314.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-160x63.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-768x302.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-1020x400.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-1200x471.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-1180x463.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-960x377.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-240x94.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-375x147.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings-520x204.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.KeytFindings.jpg 1294w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“Different backgrounds” is often code language for low-income people of color, a demographic that’s largely been disenfranchised from the tech industry since before Al Gore advocated for the internet. Hall fears the same type of exclusion will occur in the burgeoning clean energy industry. According to some of the current stats about the industry, Hall has reason to be alarmed. \u003c/p>\n\u003cp>“Building science occupation jobs were 87.2% Male and 79% White (Not Hispanic or Latino),” according to a 2015 report from the National Institute of Building Sciences. \u003c/p>\n\u003cp>It’s important to note that California has more energy efficiency jobs than any other state, more than 300,000. That’s more than double the number of those in Texas, the state in second place, according to \u003ca href=\"https://www.e2.org/wp-content/uploads/2018/09/CALIFORNIA-Dist.pdf\" rel=\"noopener\" target=\"_blank\">a report\u003c/a> from e2.org and E4TheFuture.Org. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHallGraph-800x608.png\" alt=\"\" width=\"800\" height=\"608\" class=\"aligncenter size-medium wp-image-13841655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-800x608.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-160x122.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-768x584.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-1020x775.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-1200x912.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-1180x897.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-960x730.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-240x182.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-375x285.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph-520x395.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHallGraph.png 1460w\" 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\">N\u003c/span>ow that you’ve grasped just how many clean energy jobs are in California, and just how white and male the industry is, check this out: according to \u003ca href=\"https://www.mynextmove.org/profile/ext/apprenticeships/13-1199.01?s=CA&g=Go\" rel=\"noopener\" target=\"_blank\">MyNextMove.Org\u003c/a>, a site backed by the U.S. Department of Labor, California doesn’t have a single state-approved apprenticeship program for energy auditors; that occupation isn’t even listed on the \u003ca href=\"https://www.dir.ca.gov/databases/das/aigstart.asp\" rel=\"noopener\" target=\"_blank\">official government page\u003c/a> for apprenticeships in California.\u003c/p>\n\u003cp>So, there’s a huge barrier to entry to an industry that’s obviously going to grow in the next couple of decades given the recent legislation signed by Governor Brown. Although apprenticeships aren’t the only ticket into the game, they serve as an inexpensive clear path to a long career in the world of clean energy. Otherwise, Hall tells me, a lot of people get into this industry by way of family members’ professions or expensive college classes; two routes which have inherent hurdles for outsiders.\u003c/p>\n\u003cfigure id=\"attachment_13841651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-800x535.jpg\" alt=\"Mark Hall. \" width=\"800\" height=\"535\" class=\"size-medium wp-image-13841651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Inline.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Hall. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> was impressed. Hall had managed to not only explain to me what the move toward clean energy was all about, but where the gaps were, as well as what’s at stake if these gaps aren’t filled. \u003c/p>\n\u003cp>Hall’s boots-on-the-ground work with young people in Oakland isn’t just about the future of our community. It speaks directly to the future of our country’s economy—which we all know has influence on the future of our country’s judicial system, education system, political system, you name it. \u003c/p>\n\u003cp>And Hall isn’t just a clean energy evangelist, trying to get young people employed in the industry—he understands that might not be everyone’s cup of tea. He’s also focused on the people who are overpaying every month on their energy bills.\u003c/p>\n\u003cp>Hall told me about the California Alternate Rates for Energy program, or “C.A.R.E” accounts, which are financial assistance programs for energy customers. If you still get a paper bill in the mail, you get annual pamphlets for it. And if you’re like most people, you probably give it a passing glance before throwing it in the trash.\u003c/p>\n\u003cp>Hall wants to make people aware of it. Again, working with his childhood buddy Williams at Laney College, he’s backing an effort to map over 47,000 buildings all around Oakland where people are eligible for this assistance. The buildings will be mapped by some of Williams’ students at Laney, and then the occupants will be contacted, and asked about having energy audits conducted on their buildings. These audits will show customers ways they can spend less money on their monthly bills. \u003c/p>\n\u003cfigure id=\"attachment_13841654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-800x600.jpg\" alt=\"Mark Hall at a renewable energy conference in Morocco.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13841654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MarkHall.Morocco.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mark Hall at a renewable energy conference in Morocco. \u003ccite>(Courtesy Mark Hall)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For an idea of what this might look like, check out \u003ca href=\"https://serv.cusp.nyu.edu/projects/evt/\" rel=\"noopener\" target=\"_blank\">this map\u003c/a> that charts the energy and water usage of 26,000 buildings in New York from 2013–2014. Through this process, New York not only helped a bunch of people on their energy and water bills, but also created over 7,700 jobs in three years. \u003c/p>\n\u003cp>Hall becomes animated when talking about this topic, his eyes get large and he talks with his hands. His passion is infectious. And he gets it: you say the words clean energy, and people often think it’s a concept beyond them. Hall breaks it down in layman’s terms. Like when I asked where we traditionally got energy in the first place, Hall responded by talking about fossil fuels and nuclear energy—like, how Homer Simpson worked at a power plant.\u003c/p>\n\u003cp>I was like, “Oh, I know Homer Simpson!” \u003c/p>\n\u003cp>Through our café convo, I got it. Well, I got enough to start to understand how California will move toward becoming more energy efficient. And more importantly, I learned how the next “boom” won’t necessarily be about coding and engineering, but clean energy development and implementation. \u003c/p>\n\u003cp>And just when it was all making sense to me, Hall started telling me about Green Bonds and how the S&P market works. There wasn’t enough coffee in the café to allow my brain to comprehend it all.\u003c/p>\n\u003cp>I let him talk, though, all the while thinking of something he’d told me when we first sat down, a quote about the long game involved in California becoming clean by 2045: “You can’t boil the whole ocean at one time.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland Neo-Soul Band Bells Atlas Wash Away Painful Secrets with 'Salt and Soap'",
"headTitle": "Oakland Neo-Soul Band Bells Atlas Wash Away Painful Secrets with ‘Salt and Soap’ | KQED",
"content": "\u003cp>Sandra Lawson-Ndu wants you to know it’s okay to take your time.\u003c/p>\n\u003cp>“It’s okay to have ritual and preparation associated with getting yourself to a place and being ready,” she says. For her band, \u003ca href=\"https://bellsatlas.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a>, a phantasmagorical neo-soul quintet based in Oakland, the musical equivalent to this clearing of the throat is their new EP, \u003cem>Salt and Soap\u003c/em>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4207990930/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Since releasing their 2015 EP \u003cem>Hyperlust\u003c/em> (with a few singles in between), Bells Atlas have been touring as the house band for the live edition of NPR’s \u003ca href=\"http://snapjudgment.org/tickets\" target=\"_blank\" rel=\"noopener\">\u003cem>Snap Judgement\u003c/em>\u003c/a>, as well as on their own. Now, they’re back with a torrent of new stories to tell—but first, they’re taking a deep breath.\u003c/p>\n\u003cp>\u003cem>Salt and Soap\u003c/em> represents a moment of grounding and self-care before the band’s sophomore album, \u003cem>The Mystic\u003c/em>, comes out early next year. According to Lawson-Ndu, the deeply personal nature of \u003cem>The Mystic\u003c/em> requires a bit of a pause before launching into its depths. She was hesitant to reveal too much too soon, but says the album would touch on mental health, fantasy and the spiritual realm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Downpour,” scintillating with eerie synths, is Bells Atlas’ first single before \u003cem>Salt and Soap\u003c/em> drops in full on Sept. 21. It’s a meditative look at what might happen if you were to release all the secrets weighing you down at once.\u003c/p>\n\u003cp>“I grew up in an environment where I just felt like I had to hold so many secrets,” Lawson-Ndu explained. In a lengthy post on the band’s \u003ca href=\"https://www.facebook.com/hearbellsmusic/photos/a.131310926941727/2251435154929283/?type=3&theater\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> page, she detailed the unease she felt as a child about hiding crucial parts of herself. For example, she hid the reason her father didn’t live with her from neighbors, and pretended her braids were her real hair rather than explaining black hair extensions to all the white kids at school.\u003c/p>\n\u003cfigure id=\"attachment_13841152\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-800x534.jpg\" alt=\"Bells Atlas.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bells Atlas. \u003ccite>(Courtesy of Bells Atlas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musically, “Downpour” takes a more odd, experimental turn than the rest of Bells Atlas’ oeuvre. Lo-fi drum samples recorded on an iPhone contrast with crystal-clear, whistling synths; Lawson-Ndu’s wispy, malleable vocals act as an instrument all on their own. She whispers, sing-talks, launches timid inquisitions into an unknowable void and lingers in a reverb-y croon. The lyrics almost don’t even matter—the way she plays with her voice reveals everything the listener needs to know.\u003c/p>\n\u003cp>“Even if the words are abstract but I know the meaning of it, there’s a power in shifting your voice and expressing it that way,” she explains. “I thought about the emotion behind those moments and I was just like, I feel like ‘bleh,’ why can’t I just say ‘bleh’ if I feel that way?”\u003c/p>\n\u003cp>Lawson-Ndu’s experimental vocal techniques come in part from a deepening comfort with her bandmates and a willingness to trust their instincts. The band members stumbled upon a new songwriting process for these songs, with bassist Doug Stuart and Lawson-Ndu writing over grainy drum recordings from drummer Geneva Harrison and recording their most natural, immediate responses. This new approach stands in sharp contrast to the formal musical backgrounds of the band members, who have degrees in classical theory and jazz studies.\u003c/p>\n\u003cp>“A lot of first thoughts stuck because we let out all of our weird or wonderful in that moment, and we were excited enough to let them stick,” Lawson-Ndu says.\u003c/p>\n\u003cp>https://youtu.be/bTtq1DB7-V4\u003c/p>\n\u003cp>Some of this weird and wonderful is present in the music video for “Be Brave,” a stand-alone track Bells Atlas released in June that acts as a bridge between their old material and what’s to come. In the surreal video filmed in the Alabama Hills on the east side of the Sierra Nevada, Lawson-Ndu, lost and dehydrated, encounters strange, furry desert creatures. The song acts a reminder of our own super powers; the creatures are inspired by artist Nick Cave’s outlandishly majestic \u003ca href=\"https://video.kqed.org/video/pbs-newshour-nick-cave-brings-art-sculpture-to-life-with-soundsuits/\" target=\"_blank\" rel=\"noopener\">Soundsuits\u003c/a>.\u003c/p>\n\u003cp>Lawson-Ndu found inspiration to embrace a new fearlessness in part from the evolving media landscape around her, including a recent influx of films created by and featuring nuanced representations of people of color. She says she feels freer to challenge boundaries and settle in spaces that don’t fall neatly into any one category, citing the genre-bending Frank Ocean as a musical hero.\u003c/p>\n\u003cp>The Oakland community, too, inspires the band. It was important to Bells Atlas to celebrate the release of their new EP with a hometown show at one of their favorite venues, The New Parish, on Sept. 20.\u003c/p>\n\u003cp>The venue recently changed ownership after former owner Jason Perkins was accused of \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" target=\"_blank\" rel=\"noopener\">harassing homeless residents\u003c/a> in San Francisco. The band paid careful attention to the controversy as it unfolded, wanting to make sure things were made right before going forward with the show they’d already scheduled.\u003c/p>\n\u003cp>“I’m happy they’ve made a conscious effort to do what feels right. That was important to us,” Lawson-Ndu says. Known for bringing a diverse array of local and national acts to its intimate stage, The New Parish is one of the only live music venues of its size in Oakland. “It’s an amazing venue, and I feel like it’s brought so much to Oakland. I would hate for that to exist under the shadow of one individual,” she adds.\u003c/p>\n\u003cp>The show on Thursday will be just the beginning of finally letting words long held silent out into the open. Where her own words trail off, Lawson-Ndu quotes Maya Angelou to express her emotions surrounding the new music: “There is no greater agony than bearing an untold story inside of you.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bells Atlas perform at The New Parish on Sept. 20. Details \u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sandra Lawson-Ndu wants you to know it’s okay to take your time.\u003c/p>\n\u003cp>“It’s okay to have ritual and preparation associated with getting yourself to a place and being ready,” she says. For her band, \u003ca href=\"https://bellsatlas.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bells Atlas\u003c/a>, a phantasmagorical neo-soul quintet based in Oakland, the musical equivalent to this clearing of the throat is their new EP, \u003cem>Salt and Soap\u003c/em>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=4207990930/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Since releasing their 2015 EP \u003cem>Hyperlust\u003c/em> (with a few singles in between), Bells Atlas have been touring as the house band for the live edition of NPR’s \u003ca href=\"http://snapjudgment.org/tickets\" target=\"_blank\" rel=\"noopener\">\u003cem>Snap Judgement\u003c/em>\u003c/a>, as well as on their own. Now, they’re back with a torrent of new stories to tell—but first, they’re taking a deep breath.\u003c/p>\n\u003cp>\u003cem>Salt and Soap\u003c/em> represents a moment of grounding and self-care before the band’s sophomore album, \u003cem>The Mystic\u003c/em>, comes out early next year. According to Lawson-Ndu, the deeply personal nature of \u003cem>The Mystic\u003c/em> requires a bit of a pause before launching into its depths. She was hesitant to reveal too much too soon, but says the album would touch on mental health, fantasy and the spiritual realm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Downpour,” scintillating with eerie synths, is Bells Atlas’ first single before \u003cem>Salt and Soap\u003c/em> drops in full on Sept. 21. It’s a meditative look at what might happen if you were to release all the secrets weighing you down at once.\u003c/p>\n\u003cp>“I grew up in an environment where I just felt like I had to hold so many secrets,” Lawson-Ndu explained. In a lengthy post on the band’s \u003ca href=\"https://www.facebook.com/hearbellsmusic/photos/a.131310926941727/2251435154929283/?type=3&theater\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> page, she detailed the unease she felt as a child about hiding crucial parts of herself. For example, she hid the reason her father didn’t live with her from neighbors, and pretended her braids were her real hair rather than explaining black hair extensions to all the white kids at school.\u003c/p>\n\u003cfigure id=\"attachment_13841152\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13841152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-800x534.jpg\" alt=\"Bells Atlas.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/BellsAtlas-CAR-EDITED3-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bells Atlas. \u003ccite>(Courtesy of Bells Atlas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Musically, “Downpour” takes a more odd, experimental turn than the rest of Bells Atlas’ oeuvre. Lo-fi drum samples recorded on an iPhone contrast with crystal-clear, whistling synths; Lawson-Ndu’s wispy, malleable vocals act as an instrument all on their own. She whispers, sing-talks, launches timid inquisitions into an unknowable void and lingers in a reverb-y croon. The lyrics almost don’t even matter—the way she plays with her voice reveals everything the listener needs to know.\u003c/p>\n\u003cp>“Even if the words are abstract but I know the meaning of it, there’s a power in shifting your voice and expressing it that way,” she explains. “I thought about the emotion behind those moments and I was just like, I feel like ‘bleh,’ why can’t I just say ‘bleh’ if I feel that way?”\u003c/p>\n\u003cp>Lawson-Ndu’s experimental vocal techniques come in part from a deepening comfort with her bandmates and a willingness to trust their instincts. The band members stumbled upon a new songwriting process for these songs, with bassist Doug Stuart and Lawson-Ndu writing over grainy drum recordings from drummer Geneva Harrison and recording their most natural, immediate responses. This new approach stands in sharp contrast to the formal musical backgrounds of the band members, who have degrees in classical theory and jazz studies.\u003c/p>\n\u003cp>“A lot of first thoughts stuck because we let out all of our weird or wonderful in that moment, and we were excited enough to let them stick,” Lawson-Ndu says.\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/bTtq1DB7-V4'\n title='//www.youtube.com/embed/bTtq1DB7-V4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some of this weird and wonderful is present in the music video for “Be Brave,” a stand-alone track Bells Atlas released in June that acts as a bridge between their old material and what’s to come. In the surreal video filmed in the Alabama Hills on the east side of the Sierra Nevada, Lawson-Ndu, lost and dehydrated, encounters strange, furry desert creatures. The song acts a reminder of our own super powers; the creatures are inspired by artist Nick Cave’s outlandishly majestic \u003ca href=\"https://video.kqed.org/video/pbs-newshour-nick-cave-brings-art-sculpture-to-life-with-soundsuits/\" target=\"_blank\" rel=\"noopener\">Soundsuits\u003c/a>.\u003c/p>\n\u003cp>Lawson-Ndu found inspiration to embrace a new fearlessness in part from the evolving media landscape around her, including a recent influx of films created by and featuring nuanced representations of people of color. She says she feels freer to challenge boundaries and settle in spaces that don’t fall neatly into any one category, citing the genre-bending Frank Ocean as a musical hero.\u003c/p>\n\u003cp>The Oakland community, too, inspires the band. It was important to Bells Atlas to celebrate the release of their new EP with a hometown show at one of their favorite venues, The New Parish, on Sept. 20.\u003c/p>\n\u003cp>The venue recently changed ownership after former owner Jason Perkins was accused of \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" target=\"_blank\" rel=\"noopener\">harassing homeless residents\u003c/a> in San Francisco. The band paid careful attention to the controversy as it unfolded, wanting to make sure things were made right before going forward with the show they’d already scheduled.\u003c/p>\n\u003cp>“I’m happy they’ve made a conscious effort to do what feels right. That was important to us,” Lawson-Ndu says. Known for bringing a diverse array of local and national acts to its intimate stage, The New Parish is one of the only live music venues of its size in Oakland. “It’s an amazing venue, and I feel like it’s brought so much to Oakland. I would hate for that to exist under the shadow of one individual,” she adds.\u003c/p>\n\u003cp>The show on Thursday will be just the beginning of finally letting words long held silent out into the open. Where her own words trail off, Lawson-Ndu quotes Maya Angelou to express her emotions surrounding the new music: “There is no greater agony than bearing an untold story inside of you.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bells Atlas perform at The New Parish on Sept. 20. Details \u003ca href=\"https://www.thenewparish.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "redefining-pride-torreya-cummings",
"title": "Redefining Pride: Roaming Through Torreya Cummings’ Off-Camera Histories",
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"headTitle": "Redefining Pride: Roaming Through Torreya Cummings’ Off-Camera Histories | KQED",
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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" target=\"_blank\" rel=\"noopener\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, painting and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>For many, the phrase “landscape art” evokes paintings of rolling hills and photographs of desert horizons. But these are two-dimensional renderings of three-dimensional spaces, spaces replete with sounds, scents and textures. For interdisciplinary artist \u003ca href=\"https://www.torreya.info/\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>, such flattening is counterintuitive; landscapes are multisensory terrains meant to be explored.\u003c/p>\n\u003cp>“I spent a lot of time outside as a kid,” Cummings says of her rural upbringing in the Central Valley. “Landscape has never seemed like a static thing. It’s an environment that you’re in, and it’s complex. You’re not just looking at it, you’re experiencing and interacting with it.”\u003c/p>\n\u003cfigure id=\"attachment_13841060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg\" alt=\"Erasing the hard lines separating "urban" and "rural" in Cummings' Oakland studio.\" width=\"1200\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-520x374.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erasing the hard lines separating “urban” and “rural” in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This attitude helps explain the artist’s multidimensional work, which tends to invite viewers to enter a temporary site, whether a built environment or a site-specific performance. In a sense, she creates experiences for people to roam through like a real landscape, though on a much smaller scale than a forest or field.\u003c/p>\n\u003cp>A recent multimedia installation commissioned by and on view at \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> for just under two years (it closed at the end of April 2018) encapsulated that approach. In \u003cem>Notes from ‘Camp’: AKA Transdimensional Ghost Town Discotheque\u003c/em>, the three-dimensional environment married a desert-town-inspired shanty with a (frankly) fabulous iridescent interior. Videos of shimmering crystals, streams and fish played to the sounds of 1970s disco.\u003c/p>\n\u003cfigure id=\"attachment_13840776\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13840776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg\" alt=\"Detail of the interior of Torreya Cumming's 'Notes From "Camp": AKA Transdimensional Ghost Town Discotheque', 2016-18 at the Oakland Museum of California.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162.jpg 1500w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the interior of Torreya Cumming’s ‘Notes From “Camp”: AKA Transdimensional Ghost Town Discotheque’, 2016-18 at the Oakland Museum of California. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work provided a way for Cummings to play out her curiosity about the supposed opposites of “rural” and “urban” spaces, \u003ca href=\"https://www.torreya.info/Notes-From-Camp\" target=\"_blank\" rel=\"noopener\">partially inspired\u003c/a> by \u003ca href=\"https://en.wikipedia.org/wiki/Notes_on_%22Camp%22\" target=\"_blank\" rel=\"noopener\">a foundational 1964 text\u003c/a> written by theorist Susan Sontag that discussed the concepts behind “camp,” an attitude expressing a penchant for kitchy, over-the-top aesthetics. Sontag poses “natural” in strict opposition to camp’s connection to the “urban” and to “artifice”—two notions firmly associated with modern queerness, as is camp itself.\u003c/p>\n\u003cp>Cummings’ sparkling hut is a spirited, if ambivalent, rejoinder to the essay; the installation not only allows contradictions to coexist, it seemingly celebrates them all. The installation also made tangible the perspective of a queer person who has traversed both rural and urban realms and felt, in both, equally valid senses of belonging and detachment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13841061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, finding queer belonging in rural areas appears improbable—like Sontag’s stark contrast may be altogether too accurate in real life. It’s true that urban centers often offer safe(r)-havens for the LGBTQ community (though this safety remains relative to race, class, ability and other forms of privilege). At the very least they enable social connections that are harder to come by in rural areas. And San Francisco, Oakland and the broader Bay Area boast a well-established queer history, where traditions of socializing through nightlife and bar or club culture run deep.\u003c/p>\n\u003cfigure id=\"attachment_13840779\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg\" alt=\"Torreya Cummings, 'Hard Rocks, The West is known for nothing if not for its hospitality,' 2014.\" width=\"720\" height=\"1079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-520x779.jpg 520w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Hard Rocks, The West is known for nothing if not for its hospitality,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this area, where avant-garde drag is the norm and there is often greater understanding of gender diversity, Cummings says, “It feels like… whatever I am, I’m not the only one. And not just now, but historically: there is a place carved out for a sort of miscellaneous queer existence, and that is part of the reason this place feels like home for me.”\u003c/p>\n\u003cp>Nonetheless, Cummings has experienced her own internal push-and-pull of rural familiarity and urban connection. Having grown up in the small community of Sloughhouse before moving to Davis, San Francisco and, later, Oakland, she says that for a while, she felt torn between regions. “When I was in the country, I was like, ‘Get me out of here!’ And then when I was in the city, I was like, ‘Actually, I miss that other place,’” she says.\u003c/p>\n\u003cp>But, as the many layers of \u003ci>Notes from ‘Camp’\u003c/i> demonstrate, the artist is interested in letting “at-odds” elements exist in tandem. “The power of artmaking is that you can have contradiction,” Cummings says. “You can have ambivalence and you can have multiple meanings existing in one place.”\u003c/p>\n\u003cp>Cummings constantly considers the power structures producing specific historical narratives. Historical representations, whether in a museum, a textbook or even a public park, are human-made, and thus reflective of political agendas and cultural biases. These narratives are usually limited in scope—and \u003cem>limiting\u003c/em> for us as students, viewers, readers and, more broadly, as citizens.\u003c/p>\n\u003cfigure id=\"attachment_13841057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although queer culture is certainly a prime example of a marginalized history—and a personal interest for the artist—it’s only one example of the many narratives often omitted from mainstream depictions of the past.\u003c/p>\n\u003cp>“If you have the opportunity to question one aspect of a received narrative, then there’s also an opportunity to question other aspects of it,” she observes. “So, I might be looking for signs of queer pasts, but that’s not the only thing on the periphery. In trying to explore the world that’s off-camera, there are going to be other things that are relevant to that story.”\u003c/p>\n\u003cfigure id=\"attachment_13841059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841059\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg\" alt=\"A diorama sculpture in Cummings' Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A diorama sculpture in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Cummings isn’t bent on setting the record straight (so to speak) for the sake of accurate inclusion. “At some point, [my research] veers into a sort of synthesis or fiction, where it’s based in fact, often, but it doesn’t stay there,” she explains. “The research forms the frame for the project, and then something else happens.”\u003c/p>\n\u003cp>That something else results in built environments where visitors can view the night-sky constellations of previous eras (in \u003ca href=\"https://www.torreya.info/Valley-of-Heart-s-Delight\" target=\"_blank\" rel=\"noopener\">one work\u003c/a>, before the founding of Silicon Valley; in another, \u003ca href=\"https://www.torreya.info/Frontier-Enclosure\" target=\"_blank\" rel=\"noopener\">the time before\u003c/a> the Gold Rush); performed recreations of found photographs (of \u003ca href=\"https://www.torreya.info/HARD-ROCKS\" target=\"_blank\" rel=\"noopener\">1970s gay porn\u003c/a>, as well as 19th-century \u003ca href=\"https://www.torreya.info/Destry-Rides-Again-Again\" target=\"_target\" rel=\"noopener\">saloon culture\u003c/a> mixed with a Dietrich film); a group of \u003ca href=\"https://www.torreya.info/Sailors-Signaling-Other-Sailors\" target=\"_blank\" rel=\"noopener\">“sailors”\u003c/a> bouncing a neon-green ray of light between mirrors; and an \u003ca href=\"https://www.kqed.org/arts/10617032/aquatic-park-exhibition-investigates-maritime-history\" target=\"_blank\" rel=\"noopener\">obscure recreation\u003c/a> of a folded 1939 San Francisco casino.\u003c/p>\n\u003cfigure id=\"attachment_13840778\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg\" alt=\"Torreya Cummings, 'Sailors Signalling Other Sailors,' 2015.\" width=\"1340\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg 1340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-520x347.jpg 520w\" sizes=\"auto, (max-width: 1340px) 100vw, 1340px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Sailors Signalling Other Sailors,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the complexities Cummings attends to is how strongly to identify or position oneself as an artist or a queer artist, and how that also can be revealed in the work itself—or not. “What does it mean to be a queer artist and how is this separated from being an artist generally? I do think oftentimes, you’re called upon to either perform or deny whatever your difference is,” Cummings says, which could risk repeating both the limited and limiting narratives she steers to avoid.\u003c/p>\n\u003cp>“A lot of times in my subject matter, it’s not totally clear or specifically queer,” she says. “But I think the lens, the perspective I have, the things that I’m interested in and the politics I have—the way I want to be in the world, are all affected by that. [Queerness] doesn’t have to be the subject matter, it can be the approach.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The interdisciplinary artist rethinks historical narratives through built spaces, letting \"at-odds\" elements remain in tandem. ",
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"title": "Redefining Pride: Roaming Through Torreya Cummings’ Off-Camera Histories | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" target=\"_blank\" rel=\"noopener\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, painting and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>For many, the phrase “landscape art” evokes paintings of rolling hills and photographs of desert horizons. But these are two-dimensional renderings of three-dimensional spaces, spaces replete with sounds, scents and textures. For interdisciplinary artist \u003ca href=\"https://www.torreya.info/\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>, such flattening is counterintuitive; landscapes are multisensory terrains meant to be explored.\u003c/p>\n\u003cp>“I spent a lot of time outside as a kid,” Cummings says of her rural upbringing in the Central Valley. “Landscape has never seemed like a static thing. It’s an environment that you’re in, and it’s complex. You’re not just looking at it, you’re experiencing and interacting with it.”\u003c/p>\n\u003cfigure id=\"attachment_13841060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg\" alt=\"Erasing the hard lines separating "urban" and "rural" in Cummings' Oakland studio.\" width=\"1200\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-520x374.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erasing the hard lines separating “urban” and “rural” in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This attitude helps explain the artist’s multidimensional work, which tends to invite viewers to enter a temporary site, whether a built environment or a site-specific performance. In a sense, she creates experiences for people to roam through like a real landscape, though on a much smaller scale than a forest or field.\u003c/p>\n\u003cp>A recent multimedia installation commissioned by and on view at \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> for just under two years (it closed at the end of April 2018) encapsulated that approach. In \u003cem>Notes from ‘Camp’: AKA Transdimensional Ghost Town Discotheque\u003c/em>, the three-dimensional environment married a desert-town-inspired shanty with a (frankly) fabulous iridescent interior. Videos of shimmering crystals, streams and fish played to the sounds of 1970s disco.\u003c/p>\n\u003cfigure id=\"attachment_13840776\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13840776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg\" alt=\"Detail of the interior of Torreya Cumming's 'Notes From "Camp": AKA Transdimensional Ghost Town Discotheque', 2016-18 at the Oakland Museum of California.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162.jpg 1500w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the interior of Torreya Cumming’s ‘Notes From “Camp”: AKA Transdimensional Ghost Town Discotheque’, 2016-18 at the Oakland Museum of California. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work provided a way for Cummings to play out her curiosity about the supposed opposites of “rural” and “urban” spaces, \u003ca href=\"https://www.torreya.info/Notes-From-Camp\" target=\"_blank\" rel=\"noopener\">partially inspired\u003c/a> by \u003ca href=\"https://en.wikipedia.org/wiki/Notes_on_%22Camp%22\" target=\"_blank\" rel=\"noopener\">a foundational 1964 text\u003c/a> written by theorist Susan Sontag that discussed the concepts behind “camp,” an attitude expressing a penchant for kitchy, over-the-top aesthetics. Sontag poses “natural” in strict opposition to camp’s connection to the “urban” and to “artifice”—two notions firmly associated with modern queerness, as is camp itself.\u003c/p>\n\u003cp>Cummings’ sparkling hut is a spirited, if ambivalent, rejoinder to the essay; the installation not only allows contradictions to coexist, it seemingly celebrates them all. The installation also made tangible the perspective of a queer person who has traversed both rural and urban realms and felt, in both, equally valid senses of belonging and detachment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13841061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, finding queer belonging in rural areas appears improbable—like Sontag’s stark contrast may be altogether too accurate in real life. It’s true that urban centers often offer safe(r)-havens for the LGBTQ community (though this safety remains relative to race, class, ability and other forms of privilege). At the very least they enable social connections that are harder to come by in rural areas. And San Francisco, Oakland and the broader Bay Area boast a well-established queer history, where traditions of socializing through nightlife and bar or club culture run deep.\u003c/p>\n\u003cfigure id=\"attachment_13840779\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg\" alt=\"Torreya Cummings, 'Hard Rocks, The West is known for nothing if not for its hospitality,' 2014.\" width=\"720\" height=\"1079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-520x779.jpg 520w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Hard Rocks, The West is known for nothing if not for its hospitality,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this area, where avant-garde drag is the norm and there is often greater understanding of gender diversity, Cummings says, “It feels like… whatever I am, I’m not the only one. And not just now, but historically: there is a place carved out for a sort of miscellaneous queer existence, and that is part of the reason this place feels like home for me.”\u003c/p>\n\u003cp>Nonetheless, Cummings has experienced her own internal push-and-pull of rural familiarity and urban connection. Having grown up in the small community of Sloughhouse before moving to Davis, San Francisco and, later, Oakland, she says that for a while, she felt torn between regions. “When I was in the country, I was like, ‘Get me out of here!’ And then when I was in the city, I was like, ‘Actually, I miss that other place,’” she says.\u003c/p>\n\u003cp>But, as the many layers of \u003ci>Notes from ‘Camp’\u003c/i> demonstrate, the artist is interested in letting “at-odds” elements exist in tandem. “The power of artmaking is that you can have contradiction,” Cummings says. “You can have ambivalence and you can have multiple meanings existing in one place.”\u003c/p>\n\u003cp>Cummings constantly considers the power structures producing specific historical narratives. Historical representations, whether in a museum, a textbook or even a public park, are human-made, and thus reflective of political agendas and cultural biases. These narratives are usually limited in scope—and \u003cem>limiting\u003c/em> for us as students, viewers, readers and, more broadly, as citizens.\u003c/p>\n\u003cfigure id=\"attachment_13841057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although queer culture is certainly a prime example of a marginalized history—and a personal interest for the artist—it’s only one example of the many narratives often omitted from mainstream depictions of the past.\u003c/p>\n\u003cp>“If you have the opportunity to question one aspect of a received narrative, then there’s also an opportunity to question other aspects of it,” she observes. “So, I might be looking for signs of queer pasts, but that’s not the only thing on the periphery. In trying to explore the world that’s off-camera, there are going to be other things that are relevant to that story.”\u003c/p>\n\u003cfigure id=\"attachment_13841059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841059\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg\" alt=\"A diorama sculpture in Cummings' Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A diorama sculpture in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Cummings isn’t bent on setting the record straight (so to speak) for the sake of accurate inclusion. “At some point, [my research] veers into a sort of synthesis or fiction, where it’s based in fact, often, but it doesn’t stay there,” she explains. “The research forms the frame for the project, and then something else happens.”\u003c/p>\n\u003cp>That something else results in built environments where visitors can view the night-sky constellations of previous eras (in \u003ca href=\"https://www.torreya.info/Valley-of-Heart-s-Delight\" target=\"_blank\" rel=\"noopener\">one work\u003c/a>, before the founding of Silicon Valley; in another, \u003ca href=\"https://www.torreya.info/Frontier-Enclosure\" target=\"_blank\" rel=\"noopener\">the time before\u003c/a> the Gold Rush); performed recreations of found photographs (of \u003ca href=\"https://www.torreya.info/HARD-ROCKS\" target=\"_blank\" rel=\"noopener\">1970s gay porn\u003c/a>, as well as 19th-century \u003ca href=\"https://www.torreya.info/Destry-Rides-Again-Again\" target=\"_target\" rel=\"noopener\">saloon culture\u003c/a> mixed with a Dietrich film); a group of \u003ca href=\"https://www.torreya.info/Sailors-Signaling-Other-Sailors\" target=\"_blank\" rel=\"noopener\">“sailors”\u003c/a> bouncing a neon-green ray of light between mirrors; and an \u003ca href=\"https://www.kqed.org/arts/10617032/aquatic-park-exhibition-investigates-maritime-history\" target=\"_blank\" rel=\"noopener\">obscure recreation\u003c/a> of a folded 1939 San Francisco casino.\u003c/p>\n\u003cfigure id=\"attachment_13840778\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg\" alt=\"Torreya Cummings, 'Sailors Signalling Other Sailors,' 2015.\" width=\"1340\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg 1340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-520x347.jpg 520w\" sizes=\"auto, (max-width: 1340px) 100vw, 1340px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Sailors Signalling Other Sailors,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the complexities Cummings attends to is how strongly to identify or position oneself as an artist or a queer artist, and how that also can be revealed in the work itself—or not. “What does it mean to be a queer artist and how is this separated from being an artist generally? I do think oftentimes, you’re called upon to either perform or deny whatever your difference is,” Cummings says, which could risk repeating both the limited and limiting narratives she steers to avoid.\u003c/p>\n\u003cp>“A lot of times in my subject matter, it’s not totally clear or specifically queer,” she says. “But I think the lens, the perspective I have, the things that I’m interested in and the politics I have—the way I want to be in the world, are all affected by that. [Queerness] doesn’t have to be the subject matter, it can be the approach.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "oakland-introduces-expanded-art-grants-program-announces-2018-awardees",
"title": "Oakland Introduces Expanded Art Grants Program, Announces 2018 Awardees",
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"headTitle": "Oakland Introduces Expanded Art Grants Program, Announces 2018 Awardees | KQED",
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"content": "\u003cp>Oakland officials introduced a restructured and expanded art grants program at a press conference Monday, delivering on changes envisioned in the city’s new Cultural Plan. The announcement came as city council prepares to approve \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">80 projects selected\u003c/a> for the first round of 2018 funding, totaling $1,136,253.\u003c/p>\n\u003cp>Initiatives in the expanded program include a residency program for artists to embed as creative problem-solvers within city agencies such as transportation or planning, as well as funds for nonprofits to partner with local cultural organizations on projects fostering neighborhood identity. The former will support 3-5 artists, with the duration and award figure to be determined. \u003c/p>\n\u003cp>The categories reflect proposals in the city’s Cultural Plan, “Belonging in Oakland,” a roadmap for the Cultural Funding Program under the leadership of poet and longtime arts administrator Roberto Bedoya, who \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">started\u003c/a> as the Oakland’s first-ever cultural affairs manager in September of 2016. \u003c/p>\n\u003cp>The plan, \u003ca href=\"https://www.kqed.org/forum/2010101864466/oakland-releases-plan-to-support-arts-residents-expressive-life\">Oakland’s first since 1988\u003c/a>, describes focusing Bedoya’s agency on the roots, and not merely the symptoms, of cultural erasure at a time of widespread displacement. “What’s paramount to this process and putting the plan together is to have a vision of cultural equity at the heart of what we do,” Bedoya said at the press conference. \u003c/p>\n\u003cp>The budget and infrastructure of the Cultural Affairs Unit, which funds projects by organizations as well as individual artists, dramatically downsized during the Great Recession. Oakland Mayor Libby Schaaf described today’s news as part of an agency rebound. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As we rebuilt our cultural arts program following the devastating cuts of the recession, we knew that we needed a leader who not only understood government arts programs, but was uniquely position to address the cultural needs of the city,” Schaaf said of Bedoya. \u003c/p>\n\u003cp>Groups such as the Oakland Creative Neighborhoods Coalition have in recent years pleaded for more robust cultural funding, \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-new-budget-whats-in-it-for-the-arts/Content?oid=7963862\">calling attention\u003c/a> to dwindling space and resources for local artists. According to a 2017 staff report, the number of applications to the individual artist project category has increased 50-60 percent since 2012, but the cultural plan notes Oakland’s inflation-adjusted grant-making budget is nearly half of what it was in 2001.\u003c/p>\n\u003cp>The first annual grants round overseen entirely by Bedoya, which Oakland’s city council is set to approve Monday, distributes $1.1 million to 70 artists and organizations. An additional $100,000 is earmarked for the residency and neighborhood-based programs, which have an application deadline of Dec. 15. The combined figure for both rounds—$1,236,253—is a nudge more than in recent years, reflecting onetime funds set aside by city council last summer.\u003c/p>\n\u003cp>Awardees in the most recent round include Spencer Wilkinson, who’s finishing a documentary centered on the downtown Universal Language mural; Eric Arnold, who’s researching a book and exhibition about Oakland’s boogaloo dance subculture; Josephine Lee, who oversees the Jazz on Sunday program at Golden Gate Library; and youth programs from organizations such as Hip-Hop for Change and Women’s Audio Mission. The staff report notes 16 percent of the 138 proposals came from first-time applicants. (See the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">full list of awardees here\u003c/a>.)\u003c/p>\n\u003cp>Other initiatives in the Cultural Plan include overhauling “context-impervious” grant requirements such as insurance and full-time paid staff, which Bedoya said would be incorporated into the process next year, and securing permanent funding for the mayor’s policy director for art spaces, a position currently held by Kelley Kahn and backed by a two-year grant from the Oakland-based Kenneth Rainin Foundation. \u003c/p>\n\u003cp>Last June, Oakland’s city council also allocated $150,000 for Bedoya to hire a staffer to oversee recreating the defunct arts commission, which would add another peer-based layer to the grant-making process. Bedoya said he’s interviewing candidates for the role. The plan suggests that the process, which currently involves five steps, warrants “streamlining.”\u003c/p>\n\u003cp>The 119-page Cultural Plan, a draft of which appeared in March, incorporates feedback received at 14 community meetings, 450 responses to an online survey, and recommendations from the Artist Housing and Workspace task force convened in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let us be clear,” Schaaf said on Monday. “The plan is over the finish line, but implementation is at the starting line.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland officials introduced a restructured and expanded art grants program at a press conference Monday, delivering on changes envisioned in the city’s new Cultural Plan. The announcement came as city council prepares to approve \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">80 projects selected\u003c/a> for the first round of 2018 funding, totaling $1,136,253.\u003c/p>\n\u003cp>Initiatives in the expanded program include a residency program for artists to embed as creative problem-solvers within city agencies such as transportation or planning, as well as funds for nonprofits to partner with local cultural organizations on projects fostering neighborhood identity. The former will support 3-5 artists, with the duration and award figure to be determined. \u003c/p>\n\u003cp>The categories reflect proposals in the city’s Cultural Plan, “Belonging in Oakland,” a roadmap for the Cultural Funding Program under the leadership of poet and longtime arts administrator Roberto Bedoya, who \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">started\u003c/a> as the Oakland’s first-ever cultural affairs manager in September of 2016. \u003c/p>\n\u003cp>The plan, \u003ca href=\"https://www.kqed.org/forum/2010101864466/oakland-releases-plan-to-support-arts-residents-expressive-life\">Oakland’s first since 1988\u003c/a>, describes focusing Bedoya’s agency on the roots, and not merely the symptoms, of cultural erasure at a time of widespread displacement. “What’s paramount to this process and putting the plan together is to have a vision of cultural equity at the heart of what we do,” Bedoya said at the press conference. \u003c/p>\n\u003cp>The budget and infrastructure of the Cultural Affairs Unit, which funds projects by organizations as well as individual artists, dramatically downsized during the Great Recession. Oakland Mayor Libby Schaaf described today’s news as part of an agency rebound. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As we rebuilt our cultural arts program following the devastating cuts of the recession, we knew that we needed a leader who not only understood government arts programs, but was uniquely position to address the cultural needs of the city,” Schaaf said of Bedoya. \u003c/p>\n\u003cp>Groups such as the Oakland Creative Neighborhoods Coalition have in recent years pleaded for more robust cultural funding, \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-new-budget-whats-in-it-for-the-arts/Content?oid=7963862\">calling attention\u003c/a> to dwindling space and resources for local artists. According to a 2017 staff report, the number of applications to the individual artist project category has increased 50-60 percent since 2012, but the cultural plan notes Oakland’s inflation-adjusted grant-making budget is nearly half of what it was in 2001.\u003c/p>\n\u003cp>The first annual grants round overseen entirely by Bedoya, which Oakland’s city council is set to approve Monday, distributes $1.1 million to 70 artists and organizations. An additional $100,000 is earmarked for the residency and neighborhood-based programs, which have an application deadline of Dec. 15. The combined figure for both rounds—$1,236,253—is a nudge more than in recent years, reflecting onetime funds set aside by city council last summer.\u003c/p>\n\u003cp>Awardees in the most recent round include Spencer Wilkinson, who’s finishing a documentary centered on the downtown Universal Language mural; Eric Arnold, who’s researching a book and exhibition about Oakland’s boogaloo dance subculture; Josephine Lee, who oversees the Jazz on Sunday program at Golden Gate Library; and youth programs from organizations such as Hip-Hop for Change and Women’s Audio Mission. The staff report notes 16 percent of the 138 proposals came from first-time applicants. (See the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">full list of awardees here\u003c/a>.)\u003c/p>\n\u003cp>Other initiatives in the Cultural Plan include overhauling “context-impervious” grant requirements such as insurance and full-time paid staff, which Bedoya said would be incorporated into the process next year, and securing permanent funding for the mayor’s policy director for art spaces, a position currently held by Kelley Kahn and backed by a two-year grant from the Oakland-based Kenneth Rainin Foundation. \u003c/p>\n\u003cp>Last June, Oakland’s city council also allocated $150,000 for Bedoya to hire a staffer to oversee recreating the defunct arts commission, which would add another peer-based layer to the grant-making process. Bedoya said he’s interviewing candidates for the role. The plan suggests that the process, which currently involves five steps, warrants “streamlining.”\u003c/p>\n\u003cp>The 119-page Cultural Plan, a draft of which appeared in March, incorporates feedback received at 14 community meetings, 450 responses to an online survey, and recommendations from the Artist Housing and Workspace task force convened in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let us be clear,” Schaaf said on Monday. “The plan is over the finish line, but implementation is at the starting line.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Robert Gill has lived in the same place in East Oakland for nearly 18 years.\u003c/p>\n\u003cp>But now, Gill, a disabled, 71-year-old painter, faces imminent eviction. Tenant rights activists say that the process by which Gill is being ousted from his longtime home highlights landlords’ exploitation of a city code enforcement loophole—in short, that a landlord can fail to upkeep a property, and then evict the tenant for it.\u003c/p>\n\u003cp>Gill, who paints as Rob Trains, moved into the former firehouse at 1357 93rd Avenue in 2001, after he was displaced from another live-work space in San Francisco. In 2012, the multi-unit property sold to Ray Oppenheimer. Following years of disputes, Oppenheimer last year asked the city to determine the legality of Gill’s unit; an inspector responded with instruction to “discontinue use as a living unit,” which Oppenheimer used to justify evicting Gill. \u003c/p>\n\u003cfigure id=\"attachment_13840807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill and his attorney Jackie Zaneri contend the eviction was retaliatory; Gill at first reported unpermitted construction in another unit on the property to officials, and complained to Oppenheimer about a lack of heat and other conditions. They say Oppenheimer solicited the “notice of violation” from the city in order to oust his tenant, and declined offers from Safer DIY Spaces—an organization formed after the Ghost Ship fire to help tenants of code-deficient housing—to subsidize the unit’s permitting and renovation on the condition of retaining Gill.\u003c/p>\n\u003cp>Oppenheimer, a lighting designer who’s worked with West Edge Opera and Shotgun Players, didn’t respond to interview requests. County records show he bought the property for $425,000 with his parents, who later transferred the title to him alone. His attorney, Jonathan Black of Weston Law Group, called the cost of bringing Gill’s unit up to code prohibitively expensive, and cast doubt on Safer DIY Spaces’ estimates. The organization, which includes prominent live-work architect Thomas Dolan, put the cost at $13,000, but Black put it at “six figures.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The city won’t allow the residential unit,” Black said, arguing that officials left his client no choice. “I’d never advise a client to use code enforcement to get around just-cause.” \u003c/p>\n\u003cfigure id=\"attachment_13840805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg\" alt=\"A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill.\" width=\"800\" height=\"470\" class=\"size-medium wp-image-13840805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill. \u003ccite>(Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue is a section of the city’s just-cause for eviction regulation allowing landlords to withdraw units from the residential market if they’re “unwilling” to correct code violations. \u003c/p>\n\u003cp>“There’s nothing to stop a landlord from deferring maintenance and then citing code enforcement’s own documentation of the resultant violations as a reason to evict,” said Safer DIY Spaces’ David Keenan.\u003c/p>\n\u003cp>Zaneri said Centro Legal de la Raza, which serves low-income clients, has recently seen a rash of evictions similar to Gill’s, stemming from landlords’ own code violations. She called it a “loophole” for landlords to vacate units otherwise subject to tenant protections. It’s concerning, Zaneri said, because code enforcement should be a resource for tenants to hold landlords accountable. “Code-enforcement isn’t supposed to be ordering landlords to evict people unless there’s a life-safety hazard,” she said.\u003c/p>\n\u003cp>The demand to “discontinue use as a living unit” also contradicts Oakland Mayor Libby Schaaf’s Jan. 2017 executive order for officials to avoid displacing tenants of nonconforming housing, which the mayor issued amid concerns about a code-enforcement crackdown following the Ghost Ship fire. An \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\">investigation\u003c/a> found that most evictions from nonconforming units in the months after the fire followed notices of violation containing language such as “discontinue residential use.”\u003c/p>\n\u003cfigure id=\"attachment_13840806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darin Ranelletti, the city’s policy director for housing security, said inspectors were told early last year to instead instruct landlords to “legalize conversions” except in life-threatening conditions. Yet officials have continued to issue what critics call de facto eviction orders.\u003c/p>\n\u003cp>In a June 2017 email to Keenan, reviewed by KQED, Ranelletti wrote that “staff has been instructed to refrain from using the language ‘restore to original use’ on notices pertaining to unpermitted occupancies.” Ranelletti’s email continued, “I agree that this is misleading because the owner can seek the necessary permits and approvals to allow the converted use.”\u003c/p>\n\u003cp>There is “genuine and real willingness to fix this problem in building and planning leadership,” according to Keenan. “But it’s an entrenched institutional practice with real consequences.” \u003c/p>\n\u003cp>Gill moved to San Francisco in the 1960s and helped start Project One, considered the city’s first warehouse commune. He worked as a painter, a contractor, an amateur boxer, and canvas stretcher. Until it was demolished in 2001, he lived at the storied Mission District arts space known as 47 Clarion. A series of surgeries in recent years has impaired his sight and mobility, and he supplements his social security income by building canvas frames and selling his collectible belongings on eBay.\u003c/p>\n\u003cfigure id=\"attachment_13840808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg\" alt=\"Robert Gill shows off his latest painting inside his East Oakland apartment.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill shows off his latest painting inside his East Oakland apartment. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For less than $900 month, Gill rents a small apartment and detached art studio from Oppenheimer. Sculptures and model cars rest on most surfaces, and above his bed is an enormous, vibrantly colored painting—his latest. “I showed the lady at the art store a picture of that canvas and said my 28-year-old punk rock neighbor painted it,” he said. “She believed me!”\u003c/p>\n\u003cp>Gill said he didn’t know his unit lacks approvals until recently. If he had, he wouldn’t have called code enforcement to report Oppenheimer’s unpermitted construction. “Ray knew this place wasn’t up to code,” he said. “He must’ve known about this option all along. Looking back, it seems obvious.” (A 2011 real estate listing alludes to Gill’s unit lacking residential clearance).\u003c/p>\n\u003cp>Avoiding a trial, the parties reached a settlement earlier this week. Gill will receive five months free rent as well as a relocation payment, the total value of which he put at $30,000. If Oppenheimer brings Gill’s unit into compliance, he’s required to offer it back at comparable rent. By then, though, Gill isn’t sure where he’ll be, and he worries that Oppenheimer will instead move into the unit himself, or else offer it as a temporary rental through Airbnb. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My friends have been asking what I’ll do for a year now, and I just tell them to knock it off because I really don’t know yet,” Gill said. “I thought I’d spend the rest of my life here.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Gill has lived in the same place in East Oakland for nearly 18 years.\u003c/p>\n\u003cp>But now, Gill, a disabled, 71-year-old painter, faces imminent eviction. Tenant rights activists say that the process by which Gill is being ousted from his longtime home highlights landlords’ exploitation of a city code enforcement loophole—in short, that a landlord can fail to upkeep a property, and then evict the tenant for it.\u003c/p>\n\u003cp>Gill, who paints as Rob Trains, moved into the former firehouse at 1357 93rd Avenue in 2001, after he was displaced from another live-work space in San Francisco. In 2012, the multi-unit property sold to Ray Oppenheimer. Following years of disputes, Oppenheimer last year asked the city to determine the legality of Gill’s unit; an inspector responded with instruction to “discontinue use as a living unit,” which Oppenheimer used to justify evicting Gill. \u003c/p>\n\u003cfigure id=\"attachment_13840807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill and his attorney Jackie Zaneri contend the eviction was retaliatory; Gill at first reported unpermitted construction in another unit on the property to officials, and complained to Oppenheimer about a lack of heat and other conditions. They say Oppenheimer solicited the “notice of violation” from the city in order to oust his tenant, and declined offers from Safer DIY Spaces—an organization formed after the Ghost Ship fire to help tenants of code-deficient housing—to subsidize the unit’s permitting and renovation on the condition of retaining Gill.\u003c/p>\n\u003cp>Oppenheimer, a lighting designer who’s worked with West Edge Opera and Shotgun Players, didn’t respond to interview requests. County records show he bought the property for $425,000 with his parents, who later transferred the title to him alone. His attorney, Jonathan Black of Weston Law Group, called the cost of bringing Gill’s unit up to code prohibitively expensive, and cast doubt on Safer DIY Spaces’ estimates. The organization, which includes prominent live-work architect Thomas Dolan, put the cost at $13,000, but Black put it at “six figures.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The city won’t allow the residential unit,” Black said, arguing that officials left his client no choice. “I’d never advise a client to use code enforcement to get around just-cause.” \u003c/p>\n\u003cfigure id=\"attachment_13840805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg\" alt=\"A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill.\" width=\"800\" height=\"470\" class=\"size-medium wp-image-13840805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill. \u003ccite>(Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue is a section of the city’s just-cause for eviction regulation allowing landlords to withdraw units from the residential market if they’re “unwilling” to correct code violations. \u003c/p>\n\u003cp>“There’s nothing to stop a landlord from deferring maintenance and then citing code enforcement’s own documentation of the resultant violations as a reason to evict,” said Safer DIY Spaces’ David Keenan.\u003c/p>\n\u003cp>Zaneri said Centro Legal de la Raza, which serves low-income clients, has recently seen a rash of evictions similar to Gill’s, stemming from landlords’ own code violations. She called it a “loophole” for landlords to vacate units otherwise subject to tenant protections. It’s concerning, Zaneri said, because code enforcement should be a resource for tenants to hold landlords accountable. “Code-enforcement isn’t supposed to be ordering landlords to evict people unless there’s a life-safety hazard,” she said.\u003c/p>\n\u003cp>The demand to “discontinue use as a living unit” also contradicts Oakland Mayor Libby Schaaf’s Jan. 2017 executive order for officials to avoid displacing tenants of nonconforming housing, which the mayor issued amid concerns about a code-enforcement crackdown following the Ghost Ship fire. An \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\">investigation\u003c/a> found that most evictions from nonconforming units in the months after the fire followed notices of violation containing language such as “discontinue residential use.”\u003c/p>\n\u003cfigure id=\"attachment_13840806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darin Ranelletti, the city’s policy director for housing security, said inspectors were told early last year to instead instruct landlords to “legalize conversions” except in life-threatening conditions. Yet officials have continued to issue what critics call de facto eviction orders.\u003c/p>\n\u003cp>In a June 2017 email to Keenan, reviewed by KQED, Ranelletti wrote that “staff has been instructed to refrain from using the language ‘restore to original use’ on notices pertaining to unpermitted occupancies.” Ranelletti’s email continued, “I agree that this is misleading because the owner can seek the necessary permits and approvals to allow the converted use.”\u003c/p>\n\u003cp>There is “genuine and real willingness to fix this problem in building and planning leadership,” according to Keenan. “But it’s an entrenched institutional practice with real consequences.” \u003c/p>\n\u003cp>Gill moved to San Francisco in the 1960s and helped start Project One, considered the city’s first warehouse commune. He worked as a painter, a contractor, an amateur boxer, and canvas stretcher. Until it was demolished in 2001, he lived at the storied Mission District arts space known as 47 Clarion. A series of surgeries in recent years has impaired his sight and mobility, and he supplements his social security income by building canvas frames and selling his collectible belongings on eBay.\u003c/p>\n\u003cfigure id=\"attachment_13840808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg\" alt=\"Robert Gill shows off his latest painting inside his East Oakland apartment.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill shows off his latest painting inside his East Oakland apartment. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For less than $900 month, Gill rents a small apartment and detached art studio from Oppenheimer. Sculptures and model cars rest on most surfaces, and above his bed is an enormous, vibrantly colored painting—his latest. “I showed the lady at the art store a picture of that canvas and said my 28-year-old punk rock neighbor painted it,” he said. “She believed me!”\u003c/p>\n\u003cp>Gill said he didn’t know his unit lacks approvals until recently. If he had, he wouldn’t have called code enforcement to report Oppenheimer’s unpermitted construction. “Ray knew this place wasn’t up to code,” he said. “He must’ve known about this option all along. Looking back, it seems obvious.” (A 2011 real estate listing alludes to Gill’s unit lacking residential clearance).\u003c/p>\n\u003cp>Avoiding a trial, the parties reached a settlement earlier this week. Gill will receive five months free rent as well as a relocation payment, the total value of which he put at $30,000. If Oppenheimer brings Gill’s unit into compliance, he’s required to offer it back at comparable rent. By then, though, Gill isn’t sure where he’ll be, and he worries that Oppenheimer will instead move into the unit himself, or else offer it as a temporary rental through Airbnb. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My friends have been asking what I’ll do for a year now, and I just tell them to knock it off because I really don’t know yet,” Gill said. “I thought I’d spend the rest of my life here.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Advice From Justin Bua to Oakland’s Next Generation of Artists",
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"headTitle": "Advice From Justin Bua to Oakland’s Next Generation of Artists | 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\">L\u003c/span>uis Lopez walked into SoleSpace in downtown Oakland last week with his classmates from Oakland School for the Arts for a brief lecture from renowned artist Justin Bua.\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>Lopez strolled right past the shoes on the sales racks and the mounted images of Bua’s work and randomly introduced himself to me, an unassuming guy holding a camera in the back of the room. I quickly learned that Lopez is a music producer, and just recently started rapping over his own beats. One of his friends chimed in, calling him by his stage name, “Casso,” inspired by Picasso. Why Picasso?\u003c/p>\n\u003cp>Because, Lopez told me, he wants to make art that lasts.\u003c/p>\n\u003cp>Just then, it was time to hear from Bua, the prolific New York-raised painter, illustrator and entrepreneur. Bua was in town for an annual event, called Art For the People; every year he chooses one city in the world and sets up shop, selling prints of his work at discounted prices and donating a portion of the proceeds to a noble cause—and this time, it was Oakland School for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13840715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a fitting event for SoleSpace, a shoe store that doubles as a community space. Run by Jeff Perlstein, it’s located in the heart of where the change is happening in Oakland. The place sells shoes to keep the lights on, but over the years they’ve hosted political rallies, small live performances, movie screenings, and Warriors viewing parties. It’s one of the few spaces in downtown Oakland where artists, activists and creative types gather.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A middle-aged man who hasn’t lost his cool-kid look, Bua told the students at SoleSpace his origin story, about how he started as a graffiti bomber in Harlem during hip-hop’s golden era. After his teenage years tagging trains and hopping rooftops in uptown, he eventually matured into an arts scholar, attending ArtCenter College of Design, what he called “the Harvard of arts schools.”\u003c/p>\n\u003cp>His career took off when he started producing exaggerated images of jazz and hip-hop characters. “At one point I was selling more posters than any artist on planet earth,” Bua told the seated students. Since, he’s kept up that commercial momentum with work on video games like \u003cem>NBA Street\u003c/em>, as well as music videos like Slum Village’s “Tainted.” He’s done jewelry, phone cases, skateboards, images for films and TV shows.\u003c/p>\n\u003cp>Having worked as an arts educator, he talked art history through a hip-hop lens, mentioning classical artists, modern artists and graffiti writers in the same sentence. He managed to mix in an S-word here and an MF-bomb there, keeping the young people’s attention.\u003c/p>\n\u003cp>And in the end, Bua had two main points for those in attendance. First, dedicate yourself to art, right now. Secondly, don’t confine yourself to one kind of art.\u003c/p>\n\u003cfigure id=\"attachment_13840717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg\" alt=\"Some of Justin Bua's work displayed at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of Justin Bua’s work displayed at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of Bua’s more well-known pieces, an \u003ca href=\"https://justinbua.com/products/the-dj\" target=\"_blank\" rel=\"noopener noreferrer\">image of a DJ\u003c/a> on the turntables, looked familiar. It brought me back to my teenage days—did I have it as a binder folder when I was in school?\u003c/p>\n\u003cp>He said it dropped in 2001, around the time I was going through puberty and initially committed myself to writing everyday.\u003c/p>\n\u003cp>Funny, back then, I was like “Casso,” looking to create art that lasts, and going through a pivot—I was growing from a poet to a rapper, and using a “stage name.” All the while, unbeknownst to me, I was sowing the seeds of what would become a career as a journalist: the ability to observe the vibe of my peers, to think on my feet and to ask critical questions that yield fruitful answers. I did in through lyrics then, and to this day, I’m still learning how to move a crowd merely by using words.\u003c/p>\n\u003cp>Crazy to think of how far one person can go with a simple talent: drawing in Bua’s case, storytelling in my case, and hopefully, music making for Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13840716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Bua’s credit, he didn’t get stuck where he initially achieved success. And he had clear understanding of why it worked when it did. He struck gold with his images, he said, because he was at the right place at the right time. “I was painting hip-hop narratives at a time no one thought you could do that,” he said. “No one thought that was marketable.”\u003c/p>\n\u003cp>I couldn’t help but notice the logo for Bua’s company, a silhouette of a man with an afro, complete with an afro pick and a fist on the end of it, painted on the large wall behind where Bua was sitting. Another version of it adorned the pendant dangling from Bua’s necklace. When I asked Bua, who’s Puerto Rican and Jewish, where the logo came from, he said it’s based on an image from his first book, \u003cem>The Beat of Urban Art\u003c/em>, and was inspired by the folks he’d see in his neighborhood as a kid.\u003c/p>\n\u003cp>He got his start by simply drawing what was around him, he said, but lately he’s been exploring more angles, noting his depictions of Anthony Bourdain and even professional golfer Phil Mickelson as examples of expanding his craft.\u003c/p>\n\u003cp>I laughed, even his answer about navigating depictions of race in art stayed true to his message of evolution; it’s like the only that doesn’t change about Bua is his need to constantly change.\u003c/p>\n\u003cfigure id=\"attachment_13840718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat was further evidenced by his response to a student’s question about the future of his work. Bua said he’s just trying to get better, constantly. “Michelangelo was 81 when he said he was just beginning to learn how to draw,” Bua told the students.\u003c/p>\n\u003cp>When the conversation concluded, the students stepped forward to get free prints of some of Bua’s work. I caught up to Lopez, a.k.a. Casso, who told me he liked the presentation and showed me the print he picked up.\u003c/p>\n\u003cp>I walked out of the event still holding my camera, thinking more about Lopez’s career path than Bua’s. At age 16, Lopez is already doing what Bua had suggested. He’s dedicated himself to being an artist, for the long term. On top of that, he’s already pivoting; or rather, evolving.\u003c/p>\n\u003cp>It kind of makes me question, what’s next for me?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\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>uis Lopez walked into SoleSpace in downtown Oakland last week with his classmates from Oakland School for the Arts for a brief lecture from renowned artist Justin Bua.\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>Lopez strolled right past the shoes on the sales racks and the mounted images of Bua’s work and randomly introduced himself to me, an unassuming guy holding a camera in the back of the room. I quickly learned that Lopez is a music producer, and just recently started rapping over his own beats. One of his friends chimed in, calling him by his stage name, “Casso,” inspired by Picasso. Why Picasso?\u003c/p>\n\u003cp>Because, Lopez told me, he wants to make art that lasts.\u003c/p>\n\u003cp>Just then, it was time to hear from Bua, the prolific New York-raised painter, illustrator and entrepreneur. Bua was in town for an annual event, called Art For the People; every year he chooses one city in the world and sets up shop, selling prints of his work at discounted prices and donating a portion of the proceeds to a noble cause—and this time, it was Oakland School for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13840715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a fitting event for SoleSpace, a shoe store that doubles as a community space. Run by Jeff Perlstein, it’s located in the heart of where the change is happening in Oakland. The place sells shoes to keep the lights on, but over the years they’ve hosted political rallies, small live performances, movie screenings, and Warriors viewing parties. It’s one of the few spaces in downtown Oakland where artists, activists and creative types gather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A middle-aged man who hasn’t lost his cool-kid look, Bua told the students at SoleSpace his origin story, about how he started as a graffiti bomber in Harlem during hip-hop’s golden era. After his teenage years tagging trains and hopping rooftops in uptown, he eventually matured into an arts scholar, attending ArtCenter College of Design, what he called “the Harvard of arts schools.”\u003c/p>\n\u003cp>His career took off when he started producing exaggerated images of jazz and hip-hop characters. “At one point I was selling more posters than any artist on planet earth,” Bua told the seated students. Since, he’s kept up that commercial momentum with work on video games like \u003cem>NBA Street\u003c/em>, as well as music videos like Slum Village’s “Tainted.” He’s done jewelry, phone cases, skateboards, images for films and TV shows.\u003c/p>\n\u003cp>Having worked as an arts educator, he talked art history through a hip-hop lens, mentioning classical artists, modern artists and graffiti writers in the same sentence. He managed to mix in an S-word here and an MF-bomb there, keeping the young people’s attention.\u003c/p>\n\u003cp>And in the end, Bua had two main points for those in attendance. First, dedicate yourself to art, right now. Secondly, don’t confine yourself to one kind of art.\u003c/p>\n\u003cfigure id=\"attachment_13840717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg\" alt=\"Some of Justin Bua's work displayed at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of Justin Bua’s work displayed at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of Bua’s more well-known pieces, an \u003ca href=\"https://justinbua.com/products/the-dj\" target=\"_blank\" rel=\"noopener noreferrer\">image of a DJ\u003c/a> on the turntables, looked familiar. It brought me back to my teenage days—did I have it as a binder folder when I was in school?\u003c/p>\n\u003cp>He said it dropped in 2001, around the time I was going through puberty and initially committed myself to writing everyday.\u003c/p>\n\u003cp>Funny, back then, I was like “Casso,” looking to create art that lasts, and going through a pivot—I was growing from a poet to a rapper, and using a “stage name.” All the while, unbeknownst to me, I was sowing the seeds of what would become a career as a journalist: the ability to observe the vibe of my peers, to think on my feet and to ask critical questions that yield fruitful answers. I did in through lyrics then, and to this day, I’m still learning how to move a crowd merely by using words.\u003c/p>\n\u003cp>Crazy to think of how far one person can go with a simple talent: drawing in Bua’s case, storytelling in my case, and hopefully, music making for Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13840716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Bua’s credit, he didn’t get stuck where he initially achieved success. And he had clear understanding of why it worked when it did. He struck gold with his images, he said, because he was at the right place at the right time. “I was painting hip-hop narratives at a time no one thought you could do that,” he said. “No one thought that was marketable.”\u003c/p>\n\u003cp>I couldn’t help but notice the logo for Bua’s company, a silhouette of a man with an afro, complete with an afro pick and a fist on the end of it, painted on the large wall behind where Bua was sitting. Another version of it adorned the pendant dangling from Bua’s necklace. When I asked Bua, who’s Puerto Rican and Jewish, where the logo came from, he said it’s based on an image from his first book, \u003cem>The Beat of Urban Art\u003c/em>, and was inspired by the folks he’d see in his neighborhood as a kid.\u003c/p>\n\u003cp>He got his start by simply drawing what was around him, he said, but lately he’s been exploring more angles, noting his depictions of Anthony Bourdain and even professional golfer Phil Mickelson as examples of expanding his craft.\u003c/p>\n\u003cp>I laughed, even his answer about navigating depictions of race in art stayed true to his message of evolution; it’s like the only that doesn’t change about Bua is his need to constantly change.\u003c/p>\n\u003cfigure id=\"attachment_13840718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat was further evidenced by his response to a student’s question about the future of his work. Bua said he’s just trying to get better, constantly. “Michelangelo was 81 when he said he was just beginning to learn how to draw,” Bua told the students.\u003c/p>\n\u003cp>When the conversation concluded, the students stepped forward to get free prints of some of Bua’s work. I caught up to Lopez, a.k.a. Casso, who told me he liked the presentation and showed me the print he picked up.\u003c/p>\n\u003cp>I walked out of the event still holding my camera, thinking more about Lopez’s career path than Bua’s. At age 16, Lopez is already doing what Bua had suggested. He’s dedicated himself to being an artist, for the long term. On top of that, he’s already pivoting; or rather, evolving.\u003c/p>\n\u003cp>It kind of makes me question, what’s next for me?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "american-suburb-podcast",
"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
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},
"californiareport": {
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"order": 8
},
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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"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": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"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.",
"airtime": "THU 10pm, FRI 1am",
"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"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"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",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"id": "fresh-air",
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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": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"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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"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. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
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