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"content": "\u003cp>Given that approximately half of humanity menstruates at some point in their lives, Aida Salazar says it’s a real testament to the patriarchy that women feel shame or embarrassment about their periods.\u003c/p>\n\u003cfigure id=\"attachment_13852672\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg\" alt=\"'The Moon Within' by Aida Salazar\" width=\"300\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85-160x218.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘The Moon Within’ by Aida Salazar \u003ccite>(Aida Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salazar wanted better for her daughter’s generation, so she wrote \u003cem>The Moon Within, \u003c/em>a coming of age novel written in verse. The story centers around Celi Rivera, an 11-year-old girl growing up in Oakland, who is mortified that her mother wants to celebrate her first period with a moon ceremony.\u003c/p>\n\u003cp>Moon ceremonies date back to pre-colonial times, Salazar explains. Women across the Americas would gather to celebrate their bodies and their connection to the universe.\u003c/p>\n\u003cp>Salazar didn’t have a moon ceremony for her first period, but she did celebrate her daughter with one. “I wanted to reframe the conversation,” Salazar says. “I wanted to tell a different story to her.”\u003c/p>\n\u003cp>Salazar says she wrote \u003cem>The Moon Within \u003c/em>for her daughter, and her daughter’s generation … but she wrote it for someone else, too: “In some ways, I wrote it for myself, because I needed that kind of healing,” she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/701540827/701987132\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her daughter’s moon ceremony\u003c/strong>\u003c/p>\n\u003cp>My daughter is a dancer and so she we invited her dance teachers, and we invited my sisters, and our family, and our chosen family as well. And we gathered beneath the full moon and we did many of the rituals that are described in the book. … There’s something very powerful about bringing intention to the understanding that we are connected to a cycle that is bigger than us.\u003c/p>\n\u003cp>\u003cstrong>On women feeling ashamed about menstruation \u003c/strong>\u003c/p>\n\u003cp>I wanted this book to be part of the movement to dismantle that — to take apart those notions, to reframe the idea that our menstruations are something dirty, or to be feared, or the “curse.”\u003c/p>\n\u003cp>I wanted to shed light on its power, and its beauty, and its really profound celebratory aspect. I think \u003cem>that’s\u003c/em> the way that we’re going to be able to change … those Puritanical and patriarchal views of menstruation. … I also wanted to reframe the way that we, as women, view our bodies, and how we teach our children to view their bodies: In a way that’s positive, in a way that’s celebratory — with reverence and respect and love.\u003c/p>\n\u003cp>[contextly_sidebar id=”gMIsoQ6WCgf0Q8rTFCIUE3dbnrk2PN9s”]\u003c/p>\n\u003cp>\u003cstrong>On the first time she read the Mayan poem “A Flower Song for Maidens Coming of Age,” which was written in 1440, and describes a moon ceremony\u003c/strong>\u003c/p>\n\u003cp>It really, really moved me profoundly. … Colonization basically eradicated all of our written documentation in the Americas, and we have very few fragments of knowledge. … All of our traditions have been passed down through word of mouth and also interpreted — which is a really powerful way to retain story on its own — but to have written documentation that women have been honoring the moon and celebrating their bodies, and their transitions, their milestones, in this way was such a blessing. I really felt like my ancestors were watching over and blessing this book.\u003c/p>\n\u003cp>\u003cstrong>On Celi’s gender-fluid best friend\u003c/strong>\u003c/p>\n\u003cp>I took my inspiration mostly from the pantheon. If we look at the [Meso-American] gods and goddesses, many of them were dual in nature. … Ōmeteōtl was the creator spirit and they were neither male or female but both — divine duality. And so I felt like this was an opportunity for us to remember — to rescue — some of this knowledge and be inspired to use it in a way that was compassionate and loving towards our gender expansive friends.\u003c/p>\n\u003cp>[contextly_sidebar id=”V6wjEnjJLrO7goz2kNtKbkOg2ZzmHJVS”]\u003c/p>\n\u003cp>\u003cstrong>On being a founding member of \u003c/strong>\u003ca href=\"https://www.lasmusasbooks.com/\">\u003cstrong>Las Musas\u003c/strong>\u003c/a>\u003cstrong>, a collective of women and non binary Latinx authors writing U.S. children’s literature\u003c/strong>\u003c/p>\n\u003cp>Las Musas is my heart and soul. … We’re seeing more and more Latinx people being published and … we wanted to come together as women and non binary people to make a claim that we are not only here, but that we are not in competition with one another. That there is enough space — and, in fact, we are so diverse that we need more space than what we’re given — to tell our stories. And that children in particular are ready and need what we have to bring to publishing and the book world.\u003c/p>\n\u003cp>\u003cstrong>On who she hopes will read \u003c/strong>\u003cstrong>\u003cem>The Moon Within\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I hope that it reaches boys, and girls, and gender-fluid children. I hope that it reaches the child that seeks to see themselves reflected in a book. I hope that it reaches the child who is ashamed of their menstruation or ashamed of who they are, [or] where their gender lies. I hope that it reaches children who need to feel empowered by the beauty of their bodies and the beauty of their own transformations.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audrey Nguyen, Sophia Boyd and Samantha Balaban produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "Author Aida Salazar didn't want her daughter to feel ashamed about getting her period. \"I wanted to reframe the conversation,\" Salazar says. \"I wanted to tell a different story.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Given that approximately half of humanity menstruates at some point in their lives, Aida Salazar says it’s a real testament to the patriarchy that women feel shame or embarrassment about their periods.\u003c/p>\n\u003cfigure id=\"attachment_13852672\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852672\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg\" alt=\"'The Moon Within' by Aida Salazar\" width=\"300\" height=\"408\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/9781338283372_vert-21cddfa6076e2e96ad4416cc2903243f8a67399a-s300-c85-160x218.jpg 160w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003cfigcaption class=\"wp-caption-text\">‘The Moon Within’ by Aida Salazar \u003ccite>(Aida Salazar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salazar wanted better for her daughter’s generation, so she wrote \u003cem>The Moon Within, \u003c/em>a coming of age novel written in verse. The story centers around Celi Rivera, an 11-year-old girl growing up in Oakland, who is mortified that her mother wants to celebrate her first period with a moon ceremony.\u003c/p>\n\u003cp>Moon ceremonies date back to pre-colonial times, Salazar explains. Women across the Americas would gather to celebrate their bodies and their connection to the universe.\u003c/p>\n\u003cp>Salazar didn’t have a moon ceremony for her first period, but she did celebrate her daughter with one. “I wanted to reframe the conversation,” Salazar says. “I wanted to tell a different story to her.”\u003c/p>\n\u003cp>Salazar says she wrote \u003cem>The Moon Within \u003c/em>for her daughter, and her daughter’s generation … but she wrote it for someone else, too: “In some ways, I wrote it for myself, because I needed that kind of healing,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/701540827/701987132\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her daughter’s moon ceremony\u003c/strong>\u003c/p>\n\u003cp>My daughter is a dancer and so she we invited her dance teachers, and we invited my sisters, and our family, and our chosen family as well. And we gathered beneath the full moon and we did many of the rituals that are described in the book. … There’s something very powerful about bringing intention to the understanding that we are connected to a cycle that is bigger than us.\u003c/p>\n\u003cp>\u003cstrong>On women feeling ashamed about menstruation \u003c/strong>\u003c/p>\n\u003cp>I wanted this book to be part of the movement to dismantle that — to take apart those notions, to reframe the idea that our menstruations are something dirty, or to be feared, or the “curse.”\u003c/p>\n\u003cp>I wanted to shed light on its power, and its beauty, and its really profound celebratory aspect. I think \u003cem>that’s\u003c/em> the way that we’re going to be able to change … those Puritanical and patriarchal views of menstruation. … I also wanted to reframe the way that we, as women, view our bodies, and how we teach our children to view their bodies: In a way that’s positive, in a way that’s celebratory — with reverence and respect and love.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On the first time she read the Mayan poem “A Flower Song for Maidens Coming of Age,” which was written in 1440, and describes a moon ceremony\u003c/strong>\u003c/p>\n\u003cp>It really, really moved me profoundly. … Colonization basically eradicated all of our written documentation in the Americas, and we have very few fragments of knowledge. … All of our traditions have been passed down through word of mouth and also interpreted — which is a really powerful way to retain story on its own — but to have written documentation that women have been honoring the moon and celebrating their bodies, and their transitions, their milestones, in this way was such a blessing. I really felt like my ancestors were watching over and blessing this book.\u003c/p>\n\u003cp>\u003cstrong>On Celi’s gender-fluid best friend\u003c/strong>\u003c/p>\n\u003cp>I took my inspiration mostly from the pantheon. If we look at the [Meso-American] gods and goddesses, many of them were dual in nature. … Ōmeteōtl was the creator spirit and they were neither male or female but both — divine duality. And so I felt like this was an opportunity for us to remember — to rescue — some of this knowledge and be inspired to use it in a way that was compassionate and loving towards our gender expansive friends.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>On being a founding member of \u003c/strong>\u003ca href=\"https://www.lasmusasbooks.com/\">\u003cstrong>Las Musas\u003c/strong>\u003c/a>\u003cstrong>, a collective of women and non binary Latinx authors writing U.S. children’s literature\u003c/strong>\u003c/p>\n\u003cp>Las Musas is my heart and soul. … We’re seeing more and more Latinx people being published and … we wanted to come together as women and non binary people to make a claim that we are not only here, but that we are not in competition with one another. That there is enough space — and, in fact, we are so diverse that we need more space than what we’re given — to tell our stories. And that children in particular are ready and need what we have to bring to publishing and the book world.\u003c/p>\n\u003cp>\u003cstrong>On who she hopes will read \u003c/strong>\u003cstrong>\u003cem>The Moon Within\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I hope that it reaches boys, and girls, and gender-fluid children. I hope that it reaches the child that seeks to see themselves reflected in a book. I hope that it reaches the child who is ashamed of their menstruation or ashamed of who they are, [or] where their gender lies. I hope that it reaches children who need to feel empowered by the beauty of their bodies and the beauty of their own transformations.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Audrey Nguyen, Sophia Boyd and Samantha Balaban produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "arts-centered-plan-for-kaiser-auditorium-draws-both-praise-and-doubt-in-oakland",
"title": "Arts-Centered Plan for Kaiser Auditorium Draws Both Praise and Doubt in Oakland",
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"content": "\u003cp>The Oakland Ballet has been rehearsing in Alameda, and its upcoming season will take place in Berkeley. The academy’s summer courses, meanwhile, occur in Hayward. And while the ballet company has offices in downtown Oakland, it’s paying more than ten times what it was paying two years ago for a fraction of the space, explained Artistic Director Graham Lustig. “So you can imagine the relief it’d be to bring everything under one roof with an adjacent venue—in Oakland,” he said.\u003c/p>\n\u003cp>Lustig was referring to the latest plan to reopen the historic Henry J. Kaiser Convention Center; this one would include more than 200,000 square feet of performance, rehearsal, storage and office space for predominantly nonprofits and arts and culture organizations. A civic fixture for most of the 20th century, the large building has been an empty, lakeside monument to disinvestment since shuttering in 2006.\u003c/p>\n\u003cp>The new proposal, announced by Orton Development with Heller Manus Architects, is less dramatic than Orton’s original plan to overhaul the city-owned building’s main auditorium. And whereas nonprofits before seemed like an afterthought, now they’re centered in a vision stressing public access to the rechristened Oakland Civic Auditorium’s rehearsal and event-friendly ballrooms and 1,500-seat Calvin Simmons Theatre.\u003c/p>\n\u003cfigure id=\"attachment_13852549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k10-800x531.jpg\" alt=\"The 1,900-seat Calvin Simmons theatre at the Oakland Civic Auditorium.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10.jpg 1025w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 1,900-seat Calvin Simmons theatre at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The change is welcomed by groups such as the Oakland Ballet and the similarly scattered Oakland Symphony, as well as smaller nonprofits and performing arts organizations struggling in the city’s intensely competitive commercial real-estate market. But their enthusiasm comes with serious reservations: The project is behind schedule, and Orton has offered few details of rates for office and event rentals.\u003c/p>\n\u003cp>Lustig has been meeting with Orton for more than three years, and he’s provided the development company—which will also form a nonprofit to manage the building—a picture of the ballet’s finances and spatial needs. But Orton has yet to propose rates for the $52 million project to potential tenants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’d be terribly useful to have a clearer indication at this point,” Lustig said. “It’d be ridiculous to open an art center no one can afford.”\u003c/p>\n\u003cp>That was the refrain on Saturday across the street from the Oakland Civic—which sat bounded by chain-link fence and, on one side, city-sanctioned storage sheds for the homeless—at a public meeting hosted by city councilmember Nikki Fortunato Bas in Laney College Forum.\u003c/p>\n\u003cp>“We want this public asset used for the maximum public benefit,” said Bas, who was elected this past November to represent the district including the Oakland Civic, in introductory remarks to roughly 100 attendees. “Not only is there a housing crisis, there’s also a crisis in terms of us being able to preserve culture.”\u003c/p>\n\u003cfigure id=\"attachment_13852548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852548\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k9-800x531.jpg\" alt=\"The Gold Room, one of the ballrooms at the Oakland Civic Auditorium. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Gold Room, one of the ballrooms at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton project manager David Dial, whose background is in arts administration, presented slides showing a co-working-style office space in the arena; performing arts tenants would have access to, say, a basement prop shop and ballroom rehearsal spaces. Outside, meanwhile, a raised terrace would improve visibility of the building’s sculptural niches. Orton originally projected an early 2019 opening, but the redesign has pushed groundbreaking to late this summer.\u003c/p>\n\u003cp>The idea, Dial explained, is to “remove walls between organizations to lower their costs, to lower their footprint, and to think about how we can really put those organizations in community.”\u003c/p>\n\u003cp>But many speakers echoed activists who’ve scrutinized officials’ disposal of public land in recent years. “I want us to ask the hard questions, like what affordability means, what community access means,” said Elena Serrano of EastSide Arts Alliance. “The slides reminded me of Lincoln Center—a beautiful space that most of New York is completely alienated from.”\u003c/p>\n\u003cp>At the event, Dial declined to define what portion of the office space would be reserved for arts organizations or to estimate rental costs, but he provided more details in a statement to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13852544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k3-800x520.jpg\" alt=\"A proposed mixed commercial space in the Oakland Civic Auditorium's large arena.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed mixed commercial space in the Oakland Civic Auditorium’s large arena. \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Per a tentative agreement expected to come before Oakland City Council in April, Dial said, at least 20 percent of the office space will be reserved for arts organizations. Between the basement, auditorium and second floor, Orton anticipates 450-550 workstations in addition to conference rooms and amenities accommodating an estimated 10-15 tenant organizations.\u003c/p>\n\u003cp>Programmatic rentals for the ballrooms and theatre will cost nonprofits roughly half the fee charged to for-profit companies. Dial said Orton expects to publish a detailed rent schedule “in the coming months,” and that the highest rents in the project will be less than downtown Oakland office rents, which currently average $4.66 per square foot. A draft letter-of-intent from Orton to an interested organization, which KQED reviewed, proposed $3.95 per square foot in 2017.\u003c/p>\n\u003cp>Randolph Belle of RBA Creative, who was part of a team that submitted a competing proposal to redevelop the building in 2014, called the plan a net loss for the public. “Since it’s being marketed for the arts, I’d say 50 percent of would be for arts organizations,” he said. “And $3.95 is just not tenable. That’s the kind of price that’s pushing cultural organizations out of the city.”\u003c/p>\n\u003cp>What works for relatively established outfits such as the Oakland Symphony, Belle said, generally doesn’t work for grassroots nonprofits that are most at risk of displacement. He added that the proposal serves several hundred people in a building that once served several thousand as an auditorium. “Oakland generally takes what it can get instead of getting what it wants,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13852547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k8-800x533.jpg\" alt=\"A ballroom staircase and balcony at the Oakland Civic Auditorium.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ballroom staircase and balcony at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton originally proposed a more transformative project, with a glass “building within a building” adding more square footage to the arena. In that plan, most of the space would’ve been marketed to a higher-rent commercial anchor tenant, but the design didn’t meet government standards for historic preservation. The current, lower-cost design, along with new tax credits, enabled the greater emphasis on nonprofits and arts and culture organizations, Dial said.\u003c/p>\n\u003cp>Still, among arts stakeholders there seems to be little more confidence in the project’s stabilizing potential for cultural organizations now than there was \u003ca href=\"https://www.eastbayexpress.com/oakland/will-oakland-arts-organizations-find-a-home-at-the-rehabilitated-henry-j-kaiser-convention-center/Content?oid=5046380\">in 2016\u003c/a>. “We’ve done a lot of deals where the developer promises various community uses but they’re not written into the agreement in a way that makes them required,” councilmember Rebecca Kaplan said in October 2016, adding that she wanted move beyond promises to “actual requirements.”\u003c/p>\n\u003cp>Financed by voter-approved bonds, the Oakland Civic opened in 1915 and throughout the 20th century hosted a wildly eclectic range of events. A Mel Reid-promoted gospel revue there in late 1950s included a teenage Aretha Franklin, and Martin Luther King Jr. spoke there in 1962. Bill Graham first brought the Grateful Dead there in the 1970s, and in the late 1980s it hosted Public Enemy.\u003c/p>\n\u003cfigure id=\"attachment_13852545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k4-800x534.jpg\" alt=\"The existing upper-level seating in the Oakland Civic Auditorium arena, which would remain intact.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The existing upper-level seating in the Oakland Civic Auditorium arena, which would remain intact. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Losing money, though, the facility shuttered in 2006. (In 2012, Occupy protesters were arrested en masse as they tried to expropriate the building.) In 2014, the city requested redevelopment proposals, conditioning that the Calvin Simmons Theatre, named for the late Oakland Symphony conductor, remain a performing arts venue. Orton commissioned a report on financially viable uses that ruled out concerts and conventions in the arena.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Bas said she’s compiling feedback received Saturday at Laney Forum. “We are committed to working with the City and Orton to answer these questions and ensure this project meets the needs of Oakland artists and nonprofits—particularly artists of color and organizations whose contributions are and have been critical to preserving the cultural fabric of Oakland,” she said.\u003c/p>\n\n",
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"excerpt": "A new renovation is announced, but the developer offers few details about rental rates for nonprofits and arts and cultural organizations. ",
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"title": "Arts-Centered Plan for Kaiser Auditorium Draws Both Praise and Doubt in Oakland | KQED",
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"headline": "Arts-Centered Plan for Kaiser Auditorium Draws Both Praise and Doubt in Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Oakland Ballet has been rehearsing in Alameda, and its upcoming season will take place in Berkeley. The academy’s summer courses, meanwhile, occur in Hayward. And while the ballet company has offices in downtown Oakland, it’s paying more than ten times what it was paying two years ago for a fraction of the space, explained Artistic Director Graham Lustig. “So you can imagine the relief it’d be to bring everything under one roof with an adjacent venue—in Oakland,” he said.\u003c/p>\n\u003cp>Lustig was referring to the latest plan to reopen the historic Henry J. Kaiser Convention Center; this one would include more than 200,000 square feet of performance, rehearsal, storage and office space for predominantly nonprofits and arts and culture organizations. A civic fixture for most of the 20th century, the large building has been an empty, lakeside monument to disinvestment since shuttering in 2006.\u003c/p>\n\u003cp>The new proposal, announced by Orton Development with Heller Manus Architects, is less dramatic than Orton’s original plan to overhaul the city-owned building’s main auditorium. And whereas nonprofits before seemed like an afterthought, now they’re centered in a vision stressing public access to the rechristened Oakland Civic Auditorium’s rehearsal and event-friendly ballrooms and 1,500-seat Calvin Simmons Theatre.\u003c/p>\n\u003cfigure id=\"attachment_13852549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852549\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k10-800x531.jpg\" alt=\"The 1,900-seat Calvin Simmons theatre at the Oakland Civic Auditorium.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k10.jpg 1025w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The 1,900-seat Calvin Simmons theatre at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The change is welcomed by groups such as the Oakland Ballet and the similarly scattered Oakland Symphony, as well as smaller nonprofits and performing arts organizations struggling in the city’s intensely competitive commercial real-estate market. But their enthusiasm comes with serious reservations: The project is behind schedule, and Orton has offered few details of rates for office and event rentals.\u003c/p>\n\u003cp>Lustig has been meeting with Orton for more than three years, and he’s provided the development company—which will also form a nonprofit to manage the building—a picture of the ballet’s finances and spatial needs. But Orton has yet to propose rates for the $52 million project to potential tenants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’d be terribly useful to have a clearer indication at this point,” Lustig said. “It’d be ridiculous to open an art center no one can afford.”\u003c/p>\n\u003cp>That was the refrain on Saturday across the street from the Oakland Civic—which sat bounded by chain-link fence and, on one side, city-sanctioned storage sheds for the homeless—at a public meeting hosted by city councilmember Nikki Fortunato Bas in Laney College Forum.\u003c/p>\n\u003cp>“We want this public asset used for the maximum public benefit,” said Bas, who was elected this past November to represent the district including the Oakland Civic, in introductory remarks to roughly 100 attendees. “Not only is there a housing crisis, there’s also a crisis in terms of us being able to preserve culture.”\u003c/p>\n\u003cfigure id=\"attachment_13852548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852548\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k9-800x531.jpg\" alt=\"The Gold Room, one of the ballrooms at the Oakland Civic Auditorium. \" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k9.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Gold Room, one of the ballrooms at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton project manager David Dial, whose background is in arts administration, presented slides showing a co-working-style office space in the arena; performing arts tenants would have access to, say, a basement prop shop and ballroom rehearsal spaces. Outside, meanwhile, a raised terrace would improve visibility of the building’s sculptural niches. Orton originally projected an early 2019 opening, but the redesign has pushed groundbreaking to late this summer.\u003c/p>\n\u003cp>The idea, Dial explained, is to “remove walls between organizations to lower their costs, to lower their footprint, and to think about how we can really put those organizations in community.”\u003c/p>\n\u003cp>But many speakers echoed activists who’ve scrutinized officials’ disposal of public land in recent years. “I want us to ask the hard questions, like what affordability means, what community access means,” said Elena Serrano of EastSide Arts Alliance. “The slides reminded me of Lincoln Center—a beautiful space that most of New York is completely alienated from.”\u003c/p>\n\u003cp>At the event, Dial declined to define what portion of the office space would be reserved for arts organizations or to estimate rental costs, but he provided more details in a statement to KQED.\u003c/p>\n\u003cfigure id=\"attachment_13852544\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852544\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k3-800x520.jpg\" alt=\"A proposed mixed commercial space in the Oakland Civic Auditorium's large arena.\" width=\"800\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k3.jpg 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A proposed mixed commercial space in the Oakland Civic Auditorium’s large arena. \u003ccite>(Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Per a tentative agreement expected to come before Oakland City Council in April, Dial said, at least 20 percent of the office space will be reserved for arts organizations. Between the basement, auditorium and second floor, Orton anticipates 450-550 workstations in addition to conference rooms and amenities accommodating an estimated 10-15 tenant organizations.\u003c/p>\n\u003cp>Programmatic rentals for the ballrooms and theatre will cost nonprofits roughly half the fee charged to for-profit companies. Dial said Orton expects to publish a detailed rent schedule “in the coming months,” and that the highest rents in the project will be less than downtown Oakland office rents, which currently average $4.66 per square foot. A draft letter-of-intent from Orton to an interested organization, which KQED reviewed, proposed $3.95 per square foot in 2017.\u003c/p>\n\u003cp>Randolph Belle of RBA Creative, who was part of a team that submitted a competing proposal to redevelop the building in 2014, called the plan a net loss for the public. “Since it’s being marketed for the arts, I’d say 50 percent of would be for arts organizations,” he said. “And $3.95 is just not tenable. That’s the kind of price that’s pushing cultural organizations out of the city.”\u003c/p>\n\u003cp>What works for relatively established outfits such as the Oakland Symphony, Belle said, generally doesn’t work for grassroots nonprofits that are most at risk of displacement. He added that the proposal serves several hundred people in a building that once served several thousand as an auditorium. “Oakland generally takes what it can get instead of getting what it wants,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13852547\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852547\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k8-800x533.jpg\" alt=\"A ballroom staircase and balcony at the Oakland Civic Auditorium.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k8.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A ballroom staircase and balcony at the Oakland Civic Auditorium. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Orton originally proposed a more transformative project, with a glass “building within a building” adding more square footage to the arena. In that plan, most of the space would’ve been marketed to a higher-rent commercial anchor tenant, but the design didn’t meet government standards for historic preservation. The current, lower-cost design, along with new tax credits, enabled the greater emphasis on nonprofits and arts and culture organizations, Dial said.\u003c/p>\n\u003cp>Still, among arts stakeholders there seems to be little more confidence in the project’s stabilizing potential for cultural organizations now than there was \u003ca href=\"https://www.eastbayexpress.com/oakland/will-oakland-arts-organizations-find-a-home-at-the-rehabilitated-henry-j-kaiser-convention-center/Content?oid=5046380\">in 2016\u003c/a>. “We’ve done a lot of deals where the developer promises various community uses but they’re not written into the agreement in a way that makes them required,” councilmember Rebecca Kaplan said in October 2016, adding that she wanted move beyond promises to “actual requirements.”\u003c/p>\n\u003cp>Financed by voter-approved bonds, the Oakland Civic opened in 1915 and throughout the 20th century hosted a wildly eclectic range of events. A Mel Reid-promoted gospel revue there in late 1950s included a teenage Aretha Franklin, and Martin Luther King Jr. spoke there in 1962. Bill Graham first brought the Grateful Dead there in the 1970s, and in the late 1980s it hosted Public Enemy.\u003c/p>\n\u003cfigure id=\"attachment_13852545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852545\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/k4-800x534.jpg\" alt=\"The existing upper-level seating in the Oakland Civic Auditorium arena, which would remain intact.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/k4.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The existing upper-level seating in the Oakland Civic Auditorium arena, which would remain intact. \u003ccite>(Frank Deras Photography/Courtesy Orton Development)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Losing money, though, the facility shuttered in 2006. (In 2012, Occupy protesters were arrested en masse as they tried to expropriate the building.) In 2014, the city requested redevelopment proposals, conditioning that the Calvin Simmons Theatre, named for the late Oakland Symphony conductor, remain a performing arts venue. Orton commissioned a report on financially viable uses that ruled out concerts and conventions in the arena.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bas said she’s compiling feedback received Saturday at Laney Forum. “We are committed to working with the City and Orton to answer these questions and ensure this project meets the needs of Oakland artists and nonprofits—particularly artists of color and organizations whose contributions are and have been critical to preserving the cultural fabric of Oakland,” she said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Adrian Burrell, Police Brutality and Accountability: A Film We Haven't Seen Yet",
"headTitle": "Adrian Burrell, Police Brutality and Accountability: A Film We Haven’t Seen Yet | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>drian Burrell could name his first unofficial documentary film \u003cem>Police Accountability\u003c/em>, with the subtitle \u003cem>I Could’ve Been Killed While Filming This\u003c/em>.\u003c/p>\n\u003cp>In actuality, Burrell hasn’t released a documentary film yet. He worked as an associate producer on the \u003ca href=\"https://filmpulse.net/sxsw-2013-licks-review/\" target=\"_blank\" rel=\"noopener noreferrer\">2013 film \u003cem>Licks\u003c/em>\u003c/a>, and he has one or two documentaries of his own set to drop later this year. That’s amidst getting accepted to Stanford’s MFA program, as well as UC Berkeley’s Graduate School of Journalism. He’s also wrapping up a photo exhibition, \u003cem>\u003ca href=\"https://asaadiq.com/events/\">Mama’s Babies: An Account of Black Matriarchy in America\u003c/a>\u003c/em>, which runs through March 6 at 1090 Gallery in San Francisco.\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>But Burrell’s unofficial first documentary has been shared pretty widely over the past few weeks. It takes place in late January of this year, when Burrell stepped out of his house and encountered Vallejo Police Department officer David McLaughlin in his driveway, conducting a traffic stop of his cousin. Attempting to be vigilant and create his own document of the account, Burrell took out his phone and began filming the interaction from his front porch.\u003c/p>\n\u003cp>“I was very lucky in my situation,” Burrell told me. “The way I pulled out my phone, and talked calmly. The whole time I was just thinking: ‘Let me do everything to make myself not threatening… I’m doing everything to make this person with the gun and the authority not scared.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once Burrell began filming, the officer’s attention was diverted from Burrell’s cousin to Burrell. Video shows the officer approaching Burrell; you can hear commotion between the two as the camera shakes and eventually falls, and then the video cuts off. That’s when McLaughlin reportedly tackled Burrell and handcuffed the young man.\u003c/p>\n\u003cp>After being ushered into the patrol car, Burrell identified himself as a former Marine. “I told him that my shoulder was hurting,” Burrell told me. “‘I have a prior injury from the military, could you handcuff me from the front?’”\u003c/p>\n\u003cp>Burrell, whose car was parked in the driveway with a United States Marine Corps sticker on the back bumper, said the officer changed his tone, and told him that they “don’t do that to servicemen.” The officer then reportedly released him from the cuffs, and thanked Burrell for his service.\u003c/p>\n\u003cfigure id=\"attachment_13852505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-800x535.jpg\" alt=\"Adrian Burrell at the opening of his photography exhibition, 'Mama's Babies,' at 1090 Gallery in San Francisco.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell at the opening of his photography exhibition, ‘Mama’s Babies,’ at 1090 Gallery in San Francisco. \u003ccite>(Courtesy Adrian Burrell)\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>urrell lived to tell his story. The officer went on with his job, as he’s done \u003ca href=\"http://www.ktvu.com/news/marine-vet-says-vallejo-cop-assaulted-him-for-filming-traffic-stop\">in the past\u003c/a>—when he was reportedly sued for civil rights violations, or when he was one of four officers who shot and killed a man in Richmond, or when he held a man at gunpoint and allegedly falsified reports to claim he was in possession of a controlled substance. Or even when he was \u003ca href=\"https://www.youtube.com/watch?v=_cr7vHo-DbA\">filmed pulling a gun on someone in Walnut Creek\u003c/a>, an incident occurring while McLaughlin was off duty.\u003c/p>\n\u003cp>Imagine if that officer were held accountable for his actions. Burrell, who has found legal representation from the law offices of John Burris, wants to see that a reality.\u003c/p>\n\u003cp>Earlier this month, Burris’ office filed a class-action lawsuit against the Vallejo Police Department—a suit that includes the high-profile case of the killing of \u003ca href=\"https://www.nytimes.com/2019/02/21/us/willie-mccoy-police-shooting.html\">Willie McCoy\u003c/a>, who was shot an estimated 25 times after officers found him asleep in a parked car with a gun on his lap on Feb. 9.\u003c/p>\n\u003cp>During a press conference, Burris said, “The Willie McCoy death is one of the most egregious effects of police brutality I’ve ever seen. This young man was shot to pieces; over 25 times he was shot. He wasn’t even given an opportunity to live.”\u003c/p>\n\u003cfigure id=\"attachment_13852493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-800x533.jpg\" alt=\"A scene from Adrian Burrell's upcoming documentary 'Cousins,' shot in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Adrian Burrell’s upcoming documentary ‘Cousins,’ shot in Oakland. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burris then addressed Adrian Burrell’s altercation with an officer—noting the multiple accounts of previous violations by the officer at the center of Burrell’s case. “It raises the question of what kind of accountability the department has with individual officers,” said Burris.\u003c/p>\n\u003cp>“As long as an officer gets away with it,” he added, “then they feel like they’re entitled to engage in this kind of misconduct.”\u003c/p>\n\u003cp>When I talked with Burrell, he told me that he believes that the lack of accountability for cases of police brutality is a deeply rooted systematic issue—much deeper than just one officer, or even one department.\u003c/p>\n\u003cp>He acknowledged that there are some small immediate actions that could move his community toward a remedy, like Vallejo organizing an external police oversight commission. Burrell also suggested allowing the community to have a say in who gets hired to police the community—for example, requiring potential officers to spend time at a local nonprofit or center, and then letting the community members vote on their ability to police the neighborhood.\u003c/p>\n\u003cp>That may seem like a far-fetched idea to throw out there. But \u003cem>something\u003c/em> has to change.\u003c/p>\n\u003cfigure id=\"attachment_13852490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852490\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Burrellin2013-800x533.jpg\" alt=\"Adrian Burrell in 2013.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Burrellin2013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Burrellin2013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Burrellin2013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Burrellin2013.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, camera in hand, in 2013.\u003c/figcaption>\u003c/figure>\n\u003cp>“California has people on both sides who care,” Burrell told me, “but the state has a lot of issues that bleed underneath the surface, and this is one of those things.”\u003c/p>\n\u003cp>I hear him. Police brutality, racism and lack of accountability are a part of a deeply rooted structure that’s foundational in this land we call America. And yeah, even fake-ass “liberal” Northern California is a part of America too, no matter how much people want to rebrand it.\u003c/p>\n\u003cp>There are these lofty ideas of going in different directions when it comes to policing, but they’re usually in conflict with how the infrastructure innately works.\u003c/p>\n\u003cp>“People want to make changes,” said Burrell. “But at the end of the day, the railroad goes north, south, east, and west.”\u003c/p>\n\u003cfigure id=\"attachment_13852495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852495\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-800x450.jpg\" alt=\"Adrian Burrell outside of Vallejo City Hall.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell outside of Vallejo City Hall. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> got off the phone and my train of thought took me from station to station, places where police brutality or malpractice had occurred as of late, and accountability was nowhere to be found.\u003c/p>\n\u003cp>I thought about the railroad museum in Sacramento, and how no too far from it last week, the District Attorney announced that there would be no charges for the officer who shot and killed Stephon Clark last year.\u003c/p>\n\u003cp>Further down Amtrak’s Capitol Corridor route, in my hometown of Oakland, \u003ca href=\"https://www.eastbaytimes.com/2019/03/06/oakland-federal-monitor-calls-police-chiefs-take-on-pawlik-shooting-disappointing-wants-cops-to-face-stiffer-discipline/\">news just came out\u003c/a> revealing that Judge Warsaw, the Federal Judge overseeing the Oakland Police Department, \u003ca href=\"https://www.eastbaytimes.com/2019/03/06/oakland-federal-monitor-calls-police-chiefs-take-on-pawlik-shooting-disappointing-wants-cops-to-face-stiffer-discipline/\">called out\u003c/a> current Police Chief Anne Kirkpatrick for mishandling a police shooting of \u003ca href=\"https://www.eastbayexpress.com/oakland/disappeared-in-death/Content?oid=18890563\">Joshua Pawlik\u003c/a> last year.\u003c/p>\n\u003cp>A rare instance of some form of police accountability was brought about last year with the passing of \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201720180SB1421\">SB 1421\u003c/a>, a bill allowing public access to records of police officers’ misconduct and shootings. It’s the same bill that the \u003ca href=\"https://www.sfchronicle.com/crime/article/SF-police-union-seeks-to-block-release-of-officer-13661989.php\">SF Police Union\u003c/a> and a gang of other departments across the state, as well as the state’s Attorney General Xavier Becerra, are blocking the enforcement of. Which, in turn, has caused media outlets to file lawsuits, \u003ca href=\"https://www.kqed.org/news/11730624/kqed-sues-attorney-general-fighting-for-access-to-police-misconduct-and-shooting-records\">including KQED\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13852491\" class=\"wp-caption aligncenter\" style=\"max-width: 515px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/AdrianMamasrev.jpg\" alt=\"From Adrian Burrell's 'Mama's Babies' exhibition at 1090 Gallery in San Francisco.\" width=\"515\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianMamasrev.jpg 515w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianMamasrev-160x185.jpg 160w\" sizes=\"(max-width: 515px) 100vw, 515px\">\u003cfigcaption class=\"wp-caption-text\">From Adrian Burrell’s ‘Mama’s Babies’ exhibition at 1090 Gallery in San Francisco. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I thought about the people standing behind Adrian when he spoke in front of Vallejo City Hall, holding signs with the names of loved ones who had killed by law enforcement. The majority of those killed were men of color, while a lot of the people holding signs were women of color.\u003c/p>\n\u003cp>Mothers. Sisters. And the signs they held all communicated the same request: accountability.\u003c/p>\n\u003cp>There are campaigns, external review boards, federal monitors, chest cameras, dash cameras and even citizens using their own cameras, the question remains: how can we hold officers accountable for instances of police misconduct?\u003c/p>\n\u003cp>Even with the introduction of \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200AB392\">AB 392\u003c/a>, a bill working its way through the state’s assembly which would change the allowed procedure for when an officer can use deadly force, and help hold officers accountable, I find it hard to have hope.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Because even though it sounds good, as we’ve seen time and time again, that “light at the end of the tunnel” could very well be the same old train coming. For Adrian. For so many mothers’ sons. For all of us.\u003c/p>\n\n",
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"excerpt": "When Adrian Burrell was tackled and handcuffed for legally filming a police officer, he became part of a long, seemingly unstoppable pattern.",
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"title": "Adrian Burrell, Police Brutality and Accountability: A Film We Haven't Seen Yet | 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\">A\u003c/span>drian Burrell could name his first unofficial documentary film \u003cem>Police Accountability\u003c/em>, with the subtitle \u003cem>I Could’ve Been Killed While Filming This\u003c/em>.\u003c/p>\n\u003cp>In actuality, Burrell hasn’t released a documentary film yet. He worked as an associate producer on the \u003ca href=\"https://filmpulse.net/sxsw-2013-licks-review/\" target=\"_blank\" rel=\"noopener noreferrer\">2013 film \u003cem>Licks\u003c/em>\u003c/a>, and he has one or two documentaries of his own set to drop later this year. That’s amidst getting accepted to Stanford’s MFA program, as well as UC Berkeley’s Graduate School of Journalism. He’s also wrapping up a photo exhibition, \u003cem>\u003ca href=\"https://asaadiq.com/events/\">Mama’s Babies: An Account of Black Matriarchy in America\u003c/a>\u003c/em>, which runs through March 6 at 1090 Gallery in San Francisco.\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>But Burrell’s unofficial first documentary has been shared pretty widely over the past few weeks. It takes place in late January of this year, when Burrell stepped out of his house and encountered Vallejo Police Department officer David McLaughlin in his driveway, conducting a traffic stop of his cousin. Attempting to be vigilant and create his own document of the account, Burrell took out his phone and began filming the interaction from his front porch.\u003c/p>\n\u003cp>“I was very lucky in my situation,” Burrell told me. “The way I pulled out my phone, and talked calmly. The whole time I was just thinking: ‘Let me do everything to make myself not threatening… I’m doing everything to make this person with the gun and the authority not scared.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once Burrell began filming, the officer’s attention was diverted from Burrell’s cousin to Burrell. Video shows the officer approaching Burrell; you can hear commotion between the two as the camera shakes and eventually falls, and then the video cuts off. That’s when McLaughlin reportedly tackled Burrell and handcuffed the young man.\u003c/p>\n\u003cp>After being ushered into the patrol car, Burrell identified himself as a former Marine. “I told him that my shoulder was hurting,” Burrell told me. “‘I have a prior injury from the military, could you handcuff me from the front?’”\u003c/p>\n\u003cp>Burrell, whose car was parked in the driveway with a United States Marine Corps sticker on the back bumper, said the officer changed his tone, and told him that they “don’t do that to servicemen.” The officer then reportedly released him from the cuffs, and thanked Burrell for his service.\u003c/p>\n\u003cfigure id=\"attachment_13852505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852505\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-800x535.jpg\" alt=\"Adrian Burrell at the opening of his photography exhibition, 'Mama's Babies,' at 1090 Gallery in San Francisco.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianPhotoShow.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell at the opening of his photography exhibition, ‘Mama’s Babies,’ at 1090 Gallery in San Francisco. \u003ccite>(Courtesy Adrian Burrell)\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>urrell lived to tell his story. The officer went on with his job, as he’s done \u003ca href=\"http://www.ktvu.com/news/marine-vet-says-vallejo-cop-assaulted-him-for-filming-traffic-stop\">in the past\u003c/a>—when he was reportedly sued for civil rights violations, or when he was one of four officers who shot and killed a man in Richmond, or when he held a man at gunpoint and allegedly falsified reports to claim he was in possession of a controlled substance. Or even when he was \u003ca href=\"https://www.youtube.com/watch?v=_cr7vHo-DbA\">filmed pulling a gun on someone in Walnut Creek\u003c/a>, an incident occurring while McLaughlin was off duty.\u003c/p>\n\u003cp>Imagine if that officer were held accountable for his actions. Burrell, who has found legal representation from the law offices of John Burris, wants to see that a reality.\u003c/p>\n\u003cp>Earlier this month, Burris’ office filed a class-action lawsuit against the Vallejo Police Department—a suit that includes the high-profile case of the killing of \u003ca href=\"https://www.nytimes.com/2019/02/21/us/willie-mccoy-police-shooting.html\">Willie McCoy\u003c/a>, who was shot an estimated 25 times after officers found him asleep in a parked car with a gun on his lap on Feb. 9.\u003c/p>\n\u003cp>During a press conference, Burris said, “The Willie McCoy death is one of the most egregious effects of police brutality I’ve ever seen. This young man was shot to pieces; over 25 times he was shot. He wasn’t even given an opportunity to live.”\u003c/p>\n\u003cfigure id=\"attachment_13852493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-800x533.jpg\" alt=\"A scene from Adrian Burrell's upcoming documentary 'Cousins,' shot in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.FilmStill.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A scene from Adrian Burrell’s upcoming documentary ‘Cousins,’ shot in Oakland. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Burris then addressed Adrian Burrell’s altercation with an officer—noting the multiple accounts of previous violations by the officer at the center of Burrell’s case. “It raises the question of what kind of accountability the department has with individual officers,” said Burris.\u003c/p>\n\u003cp>“As long as an officer gets away with it,” he added, “then they feel like they’re entitled to engage in this kind of misconduct.”\u003c/p>\n\u003cp>When I talked with Burrell, he told me that he believes that the lack of accountability for cases of police brutality is a deeply rooted systematic issue—much deeper than just one officer, or even one department.\u003c/p>\n\u003cp>He acknowledged that there are some small immediate actions that could move his community toward a remedy, like Vallejo organizing an external police oversight commission. Burrell also suggested allowing the community to have a say in who gets hired to police the community—for example, requiring potential officers to spend time at a local nonprofit or center, and then letting the community members vote on their ability to police the neighborhood.\u003c/p>\n\u003cp>That may seem like a far-fetched idea to throw out there. But \u003cem>something\u003c/em> has to change.\u003c/p>\n\u003cfigure id=\"attachment_13852490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852490\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Burrellin2013-800x533.jpg\" alt=\"Adrian Burrell in 2013.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Burrellin2013-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Burrellin2013-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Burrellin2013-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Burrellin2013.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell, camera in hand, in 2013.\u003c/figcaption>\u003c/figure>\n\u003cp>“California has people on both sides who care,” Burrell told me, “but the state has a lot of issues that bleed underneath the surface, and this is one of those things.”\u003c/p>\n\u003cp>I hear him. Police brutality, racism and lack of accountability are a part of a deeply rooted structure that’s foundational in this land we call America. And yeah, even fake-ass “liberal” Northern California is a part of America too, no matter how much people want to rebrand it.\u003c/p>\n\u003cp>There are these lofty ideas of going in different directions when it comes to policing, but they’re usually in conflict with how the infrastructure innately works.\u003c/p>\n\u003cp>“People want to make changes,” said Burrell. “But at the end of the day, the railroad goes north, south, east, and west.”\u003c/p>\n\u003cfigure id=\"attachment_13852495\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852495\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-800x450.jpg\" alt=\"Adrian Burrell outside of Vallejo City Hall.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianBurrell.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adrian Burrell outside of Vallejo City Hall. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> got off the phone and my train of thought took me from station to station, places where police brutality or malpractice had occurred as of late, and accountability was nowhere to be found.\u003c/p>\n\u003cp>I thought about the railroad museum in Sacramento, and how no too far from it last week, the District Attorney announced that there would be no charges for the officer who shot and killed Stephon Clark last year.\u003c/p>\n\u003cp>Further down Amtrak’s Capitol Corridor route, in my hometown of Oakland, \u003ca href=\"https://www.eastbaytimes.com/2019/03/06/oakland-federal-monitor-calls-police-chiefs-take-on-pawlik-shooting-disappointing-wants-cops-to-face-stiffer-discipline/\">news just came out\u003c/a> revealing that Judge Warsaw, the Federal Judge overseeing the Oakland Police Department, \u003ca href=\"https://www.eastbaytimes.com/2019/03/06/oakland-federal-monitor-calls-police-chiefs-take-on-pawlik-shooting-disappointing-wants-cops-to-face-stiffer-discipline/\">called out\u003c/a> current Police Chief Anne Kirkpatrick for mishandling a police shooting of \u003ca href=\"https://www.eastbayexpress.com/oakland/disappeared-in-death/Content?oid=18890563\">Joshua Pawlik\u003c/a> last year.\u003c/p>\n\u003cp>A rare instance of some form of police accountability was brought about last year with the passing of \u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201720180SB1421\">SB 1421\u003c/a>, a bill allowing public access to records of police officers’ misconduct and shootings. It’s the same bill that the \u003ca href=\"https://www.sfchronicle.com/crime/article/SF-police-union-seeks-to-block-release-of-officer-13661989.php\">SF Police Union\u003c/a> and a gang of other departments across the state, as well as the state’s Attorney General Xavier Becerra, are blocking the enforcement of. Which, in turn, has caused media outlets to file lawsuits, \u003ca href=\"https://www.kqed.org/news/11730624/kqed-sues-attorney-general-fighting-for-access-to-police-misconduct-and-shooting-records\">including KQED\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13852491\" class=\"wp-caption aligncenter\" style=\"max-width: 515px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852491\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/AdrianMamasrev.jpg\" alt=\"From Adrian Burrell's 'Mama's Babies' exhibition at 1090 Gallery in San Francisco.\" width=\"515\" height=\"596\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianMamasrev.jpg 515w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/AdrianMamasrev-160x185.jpg 160w\" sizes=\"(max-width: 515px) 100vw, 515px\">\u003cfigcaption class=\"wp-caption-text\">From Adrian Burrell’s ‘Mama’s Babies’ exhibition at 1090 Gallery in San Francisco. \u003ccite>(Adrian Burrell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I thought about the people standing behind Adrian when he spoke in front of Vallejo City Hall, holding signs with the names of loved ones who had killed by law enforcement. The majority of those killed were men of color, while a lot of the people holding signs were women of color.\u003c/p>\n\u003cp>Mothers. Sisters. And the signs they held all communicated the same request: accountability.\u003c/p>\n\u003cp>There are campaigns, external review boards, federal monitors, chest cameras, dash cameras and even citizens using their own cameras, the question remains: how can we hold officers accountable for instances of police misconduct?\u003c/p>\n\u003cp>Even with the introduction of \u003ca href=\"http://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200AB392\">AB 392\u003c/a>, a bill working its way through the state’s assembly which would change the allowed procedure for when an officer can use deadly force, and help hold officers accountable, I find it hard to have hope.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because even though it sounds good, as we’ve seen time and time again, that “light at the end of the tunnel” could very well be the same old train coming. For Adrian. For so many mothers’ sons. For all of us.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland’s Betti Ono gallery, an eight-year-old mainstay of the downtown art scene, has secured a long-term lease for their nearly 2,600-square-foot gallery space in a property owned by the City of Oakland.\u003c/p>\n\u003cp>“We WON!” the gallery’s Instagram account \u003ca href=\"https://www.instagram.com/p/Bur4udcBhCk/?utm_source=ig_web_copy_link\" rel=\"noopener\" target=\"_blank\">proclaimed on Wednesday\u003c/a>. “After 7+ years of operations and advocacy we finally got our long-term lease signed today. Betti Ono is here to stay!!!!”\u003c/p>\n\u003cp>https://www.instagram.com/p/Bur4udcBhCk/\u003c/p>\n\u003cp>The seven-year lease, which stabilizes the gallery’s rent with incremental increases, gives Betti Ono the security to make both immediate changes and long-term plans. \u003c/p>\n\u003cp>Being month-to-month affected every decision made, says gallery director and founder \u003ca href=\"https://www.kqed.org/arts/13839089/bay-brilliant-anyka-barber\" rel=\"noopener\" target=\"_blank\">Anyka Barber\u003c/a>. That included how often Betti Ono presented exhibitions and programs, and which funders it was eligible to partner with. (Many granting organizations view long-term leases as a sign of fiscal health and \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-part-2-oaklands-struggle-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">won’t provide support without one\u003c/a>.) Even planning an operating budget a few years ahead was impossible, Barber says, since she never knew when the city might \u003ca href=\"https://www.eastbaytimes.com/2016/03/30/drummond-soaring-rents-put-chill-on-oakland-arts/\" rel=\"noopener\" target=\"_blank\">increase their rent\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, Barber says, they can “grow in the space and dig deep” without “clouds of uncertainty” plaguing future plans. The gallery plans to apply for nonprofit status; they currently have fiscal sponsorship through fellow City of Oakland tenant Pro Arts.\u003c/p>\n\u003cp>The announcement comes as a welcome and rare bit of good news at a time when nonprofit arts spaces on both sides of the Bay struggle with landlord rent increases. San Francisco’s 48-year-old \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/galeria-de-la-raza-a-birthplace-of-chicano-art-embraces-its-exile\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> moved out of their 24th Street gallery space and into an interim spot on Valencia Street at the end of 2018. And \u003ca href=\"https://www.kqed.org/arts/13851268/despite-doubling-budget-aggregate-space-gallery-faces-displacement\" rel=\"noopener\" target=\"_blank\">Aggregate Space Gallery\u003c/a> expects to have to leave their Oakland warehouse space at the beginning of August.\u003c/p>\n\u003cp>Barber hopes her successful lease negotiation will help Oakland forge real estate partnerships with other arts and culture organizations. “To be here now means that this should create more opportunity,” she says. “We recognized that a precedent had to be set. I’m hopeful we can help advance this as a model and even refine it.” \u003c/p>\n\u003cp>But for now, Barber and her team are simply thrilled.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are ecstatic!” she says. “I can’t even say it’s surreal because we worked so hard for it, but it feels like we really accomplished something—and that we did it arm-in-arm with our public… This is a win for the whole town, for Oakland and for black women in leadership in the arts.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s Betti Ono gallery, an eight-year-old mainstay of the downtown art scene, has secured a long-term lease for their nearly 2,600-square-foot gallery space in a property owned by the City of Oakland.\u003c/p>\n\u003cp>“We WON!” the gallery’s Instagram account \u003ca href=\"https://www.instagram.com/p/Bur4udcBhCk/?utm_source=ig_web_copy_link\" rel=\"noopener\" target=\"_blank\">proclaimed on Wednesday\u003c/a>. “After 7+ years of operations and advocacy we finally got our long-term lease signed today. Betti Ono is here to stay!!!!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The seven-year lease, which stabilizes the gallery’s rent with incremental increases, gives Betti Ono the security to make both immediate changes and long-term plans. \u003c/p>\n\u003cp>Being month-to-month affected every decision made, says gallery director and founder \u003ca href=\"https://www.kqed.org/arts/13839089/bay-brilliant-anyka-barber\" rel=\"noopener\" target=\"_blank\">Anyka Barber\u003c/a>. That included how often Betti Ono presented exhibitions and programs, and which funders it was eligible to partner with. (Many granting organizations view long-term leases as a sign of fiscal health and \u003ca href=\"https://openspace.sfmoma.org/2018/06/culture-cash-part-2-oaklands-struggle-to-support-the-arts/\" rel=\"noopener\" target=\"_blank\">won’t provide support without one\u003c/a>.) Even planning an operating budget a few years ahead was impossible, Barber says, since she never knew when the city might \u003ca href=\"https://www.eastbaytimes.com/2016/03/30/drummond-soaring-rents-put-chill-on-oakland-arts/\" rel=\"noopener\" target=\"_blank\">increase their rent\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, Barber says, they can “grow in the space and dig deep” without “clouds of uncertainty” plaguing future plans. The gallery plans to apply for nonprofit status; they currently have fiscal sponsorship through fellow City of Oakland tenant Pro Arts.\u003c/p>\n\u003cp>The announcement comes as a welcome and rare bit of good news at a time when nonprofit arts spaces on both sides of the Bay struggle with landlord rent increases. San Francisco’s 48-year-old \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/galeria-de-la-raza-a-birthplace-of-chicano-art-embraces-its-exile\" rel=\"noopener\" target=\"_blank\">Galería de la Raza\u003c/a> moved out of their 24th Street gallery space and into an interim spot on Valencia Street at the end of 2018. And \u003ca href=\"https://www.kqed.org/arts/13851268/despite-doubling-budget-aggregate-space-gallery-faces-displacement\" rel=\"noopener\" target=\"_blank\">Aggregate Space Gallery\u003c/a> expects to have to leave their Oakland warehouse space at the beginning of August.\u003c/p>\n\u003cp>Barber hopes her successful lease negotiation will help Oakland forge real estate partnerships with other arts and culture organizations. “To be here now means that this should create more opportunity,” she says. “We recognized that a precedent had to be set. I’m hopeful we can help advance this as a model and even refine it.” \u003c/p>\n\u003cp>But for now, Barber and her team are simply thrilled.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are ecstatic!” she says. “I can’t even say it’s surreal because we worked so hard for it, but it feels like we really accomplished something—and that we did it arm-in-arm with our public… This is a win for the whole town, for Oakland and for black women in leadership in the arts.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "rightnowish-gavin-grants-visions-in-woodworking",
"title": "Rightnowish: Gavin Grant’s Visions in Woodworking",
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"content": "\u003cp>Gavin Grant didn’t set out to be a wood sculptor. In college, he signed up as a teacher’s assistant in a wood shop class—just to earn a few credits so he could graduate. \u003c/p>\n\u003cp>And then he fell in love with the smell of sawdust. Almost two decades later, he’s been carving up things ever since.\u003c/p>\n\u003cp>Gavin’s work caught my eye as soon as I saw his sleek futuristic-looking woodcarvings. Most of them are roughly three to four feet in size. They can either stand alone or be mounted to a wall. It wouldn’t do justice to simply call his creations “s-like” figures—they’re more dragon-like.\u003c/p>\n\u003cfigure id=\"attachment_13844741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844741\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-1-800x535.jpg\" alt=\"One of Gavin Grant's sculptures, fresh off the press.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Gavin Grant’s sculptures, fresh off the press. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he told me \u003ca href=\"https://www.kqed.org/arts/13844737/gavin-grants-journey-in-wood-one-sculpture-at-a-time\" target=\"_blank\" rel=\"noopener\">last time we met\u003c/a>, when Gavin first had the idea to make his curvaceous figures, he kept running into a problem of getting them to be 3D and curved. So, he devised a plan: he’d score wood diagonally, pair it with a symmetrical piece of wood, and then seal the two side together, using another piece of wood to create a spine between the two—propping them up and making his creation three-dimensional.\u003c/p>\n\u003cp>When he breaks it down, it seems simple. A lot of very focused work, but simple still.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nonetheless, I can’t do it. I’ve never even tried. And I don’t think I know any other African American folks who are professional woodworkers. But, according to Gavin, there are plenty of black craftsmen and women out there—they just don’t appear on your TV screens or radios too often.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All the more reason I’m glad to have him as my second guest on \u003cem>Rightnowish\u003c/em>. Click the link above to hear all about Gavin, or tune into \u003cem>Rightnowish\u003c/em> on KQED-FM on Sunday at 7:34am and 9:34am. And for more of Gavin’s work, check \u003ca href=\"http://archlineardesigns.com/\">his website\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gavin Grant didn’t set out to be a wood sculptor. In college, he signed up as a teacher’s assistant in a wood shop class—just to earn a few credits so he could graduate. \u003c/p>\n\u003cp>And then he fell in love with the smell of sawdust. Almost two decades later, he’s been carving up things ever since.\u003c/p>\n\u003cp>Gavin’s work caught my eye as soon as I saw his sleek futuristic-looking woodcarvings. Most of them are roughly three to four feet in size. They can either stand alone or be mounted to a wall. It wouldn’t do justice to simply call his creations “s-like” figures—they’re more dragon-like.\u003c/p>\n\u003cfigure id=\"attachment_13844741\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844741\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-1-800x535.jpg\" alt=\"One of Gavin Grant's sculptures, fresh off the press.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Gavin Grant’s sculptures, fresh off the press. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As he told me \u003ca href=\"https://www.kqed.org/arts/13844737/gavin-grants-journey-in-wood-one-sculpture-at-a-time\" target=\"_blank\" rel=\"noopener\">last time we met\u003c/a>, when Gavin first had the idea to make his curvaceous figures, he kept running into a problem of getting them to be 3D and curved. So, he devised a plan: he’d score wood diagonally, pair it with a symmetrical piece of wood, and then seal the two side together, using another piece of wood to create a spine between the two—propping them up and making his creation three-dimensional.\u003c/p>\n\u003cp>When he breaks it down, it seems simple. A lot of very focused work, but simple still.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nonetheless, I can’t do it. I’ve never even tried. And I don’t think I know any other African American folks who are professional woodworkers. But, according to Gavin, there are plenty of black craftsmen and women out there—they just don’t appear on your TV screens or radios too often.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All the more reason I’m glad to have him as my second guest on \u003cem>Rightnowish\u003c/em>. Click the link above to hear all about Gavin, or tune into \u003cem>Rightnowish\u003c/em> on KQED-FM on Sunday at 7:34am and 9:34am. And for more of Gavin’s work, check \u003ca href=\"http://archlineardesigns.com/\">his website\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland High School's 'Hairspray' Finds a Home, for Now",
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"content": "\u003cp>When students at Oakland High learned that the teachers strike would \u003ca href=\"https://www.kqed.org/arts/13851076/first-musical-at-oakland-high-in-40-years-could-fall-victim-to-strike\" rel=\"noopener\" target=\"_blank\">likely derail their plans for the first-ever Broadway musical\u003c/a> at the budget-strapped school in 40 years, they could have lowered the curtain and gone dark.\u003c/p>\n\u003cp>Instead, not wanting to cross the picket line, they packed up and moved to Lake Merritt, where outside on the shore, they continued rehearsing. Then they moved to the Oakland Museum Theater for more rehearsals. Now, they’re at the Asian Cultural Center in Oakland’s Chinatown neighborhood, where they’ll perform \u003ca href=\"https://www.eventbrite.com/e/hairspray-the-musical-a-preview-performance-by-oakland-high-school-tickets-57472428581?aff=efbneb&fbclid=IwAR2mOE49KnC646Hhyx1OVWiGZxRIh_gRoenEkcqjsDnyLqjXej3af83C4-s\" rel=\"noopener\" target=\"_blank\">a free preview of \u003cem>Hairspray\u003c/em> on Saturday, March 2, at 7pm\u003c/a>.\u003c/p>\n\u003cp>The “preview” in that announcement alludes to hopes that the full show will still run March 7 and 8. In addition to the strike, Oakland High School has been hammered by budget cuts and doesn’t have a drama program, making \u003cem>Hairspray\u003c/em> a volunteer effort.\u003c/p>\n\u003cp>“I’m just so excited for this play. But if it’s not going to happen, I just don’t know what to say,” Trinity Chau, an 18-year-old in her senior year, \u003ca href=\"https://www.kqed.org/arts/13851076/first-musical-at-oakland-high-in-40-years-could-fall-victim-to-strike\" rel=\"noopener\" target=\"_blank\">told KQED\u003c/a> in February.\u003c/p>\n\u003cp>The preview performance on March 2 is free; \u003ca href=\"https://www.eventbrite.com/e/hairspray-the-musical-a-preview-performance-by-oakland-high-school-tickets-57472428581?aff=efbneb&fbclid=IwAR2mOE49KnC646Hhyx1OVWiGZxRIh_gRoenEkcqjsDnyLqjXej3af83C4-s\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When students at Oakland High learned that the teachers strike would \u003ca href=\"https://www.kqed.org/arts/13851076/first-musical-at-oakland-high-in-40-years-could-fall-victim-to-strike\" rel=\"noopener\" target=\"_blank\">likely derail their plans for the first-ever Broadway musical\u003c/a> at the budget-strapped school in 40 years, they could have lowered the curtain and gone dark.\u003c/p>\n\u003cp>Instead, not wanting to cross the picket line, they packed up and moved to Lake Merritt, where outside on the shore, they continued rehearsing. Then they moved to the Oakland Museum Theater for more rehearsals. Now, they’re at the Asian Cultural Center in Oakland’s Chinatown neighborhood, where they’ll perform \u003ca href=\"https://www.eventbrite.com/e/hairspray-the-musical-a-preview-performance-by-oakland-high-school-tickets-57472428581?aff=efbneb&fbclid=IwAR2mOE49KnC646Hhyx1OVWiGZxRIh_gRoenEkcqjsDnyLqjXej3af83C4-s\" rel=\"noopener\" target=\"_blank\">a free preview of \u003cem>Hairspray\u003c/em> on Saturday, March 2, at 7pm\u003c/a>.\u003c/p>\n\u003cp>The “preview” in that announcement alludes to hopes that the full show will still run March 7 and 8. In addition to the strike, Oakland High School has been hammered by budget cuts and doesn’t have a drama program, making \u003cem>Hairspray\u003c/em> a volunteer effort.\u003c/p>\n\u003cp>“I’m just so excited for this play. But if it’s not going to happen, I just don’t know what to say,” Trinity Chau, an 18-year-old in her senior year, \u003ca href=\"https://www.kqed.org/arts/13851076/first-musical-at-oakland-high-in-40-years-could-fall-victim-to-strike\" rel=\"noopener\" target=\"_blank\">told KQED\u003c/a> in February.\u003c/p>\n\u003cp>The preview performance on March 2 is free; \u003ca href=\"https://www.eventbrite.com/e/hairspray-the-musical-a-preview-performance-by-oakland-high-school-tickets-57472428581?aff=efbneb&fbclid=IwAR2mOE49KnC646Hhyx1OVWiGZxRIh_gRoenEkcqjsDnyLqjXej3af83C4-s\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen former President Barack Obama came to Oakland last week for the national My Brothers Keeper convention, he had no idea he’d be sitting next to Leo Mercer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Sure, he knew he’d be talking to Steph Curry during the town hall discussion at Oakland’s Scottish Rite Temple, where attendees from across all states would be in the house. And I’d imagine Obama was told he’d be asked questions by a few of the young men who sat around him on stage during the conversation.\u003c/p>\n\u003cp>But then there was Leo Mercer, sitting just a few feet away from him.\u003c/p>\n\u003cp>Leo wore a blazer over his hoodie, his long locs done up as if they were defying gravity. I watched him go from wiggling in his seat as the microphone was passed his way to standing firm and delivering a sincere two-part question to the former leader of the free world.\u003c/p>\n\u003cp>“What role does music have in your life?” asked Leo, a 27-year-old Oakland native. “And what role can music have when it comes to liberation, policy change, social change and all those other items?”\u003c/p>\n\u003cp>“Are you a musician?” Obama said, answering Leo’s question with a question. “Yeah,” Leo replied. “I’ll have to listen to some of your tracks now,” Obama said, before going into riff about the discipline it takes to become a professional musician.\u003c/p>\n\u003cp>If you’re like most people, you’d be thrilled to hear Obama say he’ll check out your music. But I couldn’t help but notice that after his pivot, Obama didn’t really answer Leo’s question at all.\u003c/p>\n\u003cfigure id=\"attachment_13851827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-800x535.jpg\" alt=\"Leo Mercer at Lake Merritt in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leo Mercer at Lake Merritt in Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> couple days ago, I called Leo to chop it up about his experience. Just as I figured, it was business as usual on a Monday morning. He was on BART, headed to a healing circle with the organization he works for, Urban Peace Movement, taking time to honor the lives of those who had recently passed.\u003c/p>\n\u003cp>I could hear the train doors open and close in the background as we talked about how it felt to be on that stage, sitting a church aisle’s distance from the first African-American President this country has seen. When he asked Obama about music, Leo said, he noticed the same thing I’d noticed.\u003c/p>\n\u003cp>“He didn’t answer the part about what role music can play in terms of social movements and liberation,” said Leo. “He answered the first part, ‘What role does music play in your life?’ So, that was cool—but it would’ve been dope if answered the other part.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Leo went on to talk about another music reference Obama made while on stage, one that the media jumped on, when he implied that confident young men don’t need to act like rappers in music videos with gold jewelry and “eight women around you twerking.”\u003c/p>\n\u003cp>“I just saw this article in the \u003cem>New York Times\u003c/em> that was \u003ca href=\"https://www.nytimes.com/2019/02/23/opinion/my-brothers-keeper-obama.html\" target=\"_blank\" rel=\"noopener noreferrer\">kind of shitting on us\u003c/a>. Basically saying Obama was scolding us. I disagree with that… talking about Obama was scolding us, talking about we don’t need to be wearing big chains,” said Leo. “They were basically misinterpreting how Obama was trying to get to us. And, to be honest, he was just keeping it real with us.”\u003c/p>\n\u003cp>Leo noted that the whole conference was about supporting young men—and even if Obama’s “scolding” didn’t come off as supportive to some, Leo understood the intention behind the statement. He understood how that tied into the overall theme of the conference. Hell, that understanding of confidence is probably why he landed in the seat he was in.\u003c/p>\n\u003cp>He told me he got turned down twice before his request to attend was accepted, once through an Instagram competition and again when he applied through Urban Peace Movement. He finally got the green light through the Urban Strategies Council. And when he walked in the door of that conference last week, he says he walked in there trying to gloat.\u003c/p>\n\u003cp>“Ya’ll not about to just have this conference out here and exclude the Oakland cats—the authentic Oakland cats!” said Leo.\u003c/p>\n\u003cfigure id=\"attachment_13851822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-800x535.jpg\" alt=\"Former president Barack Obama and the Warriors' Stephen Curry at the My Brither's Keeper conference in Oakland, Feb. 19, 2019.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former president Barack Obama and the Warriors’ Stephen Curry at the My Brother’s Keeper conference in Oakland, Feb. 19, 2019. Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s far as being on stage with Obama, Leo, a performer in his own right, says he had some butterflies.\u003c/p>\n\u003cp>“I was nervous, but I was nervous in a way that was like, this is the uncle I ain’t seen in a minute,” said Leo, with a laugh. “I was nervous, but not nervous enough to be shaking and shit. I felt like talking to him, it was just like talking to Prince.”\u003c/p>\n\u003cp>Leo wasn’t talking about the Prince of \u003cem>Purple Rain\u003c/em>. Dr. Prince White was one of Leo’s mentors; he was also a friend of mine. Prince \u003ca href=\"https://oaklandnorth.net/2018/09/04/remembering-the-social-justice-advocate-dr-prince-white/\" target=\"_blank\" rel=\"noopener noreferrer\">passed last August\u003c/a>. He’s one of the people Leo was headed to honor during the healing circle.\u003c/p>\n\u003cp>Before he passed, Dr. Prince White did all he could to push Leo into political arenas. About two years ago, Prince pulled strings and got Leo to \u003ca href=\"https://www.youtube.com/watch?v=pf7PAlJm2x0\" target=\"_blank\" rel=\"noopener noreferrer\">perform a spoken word piece\u003c/a> in front of current State Superintendent of Schools Tony Thurmond, Assembly member Rob Bonta, and Senator Nancy Skinner.\u003c/p>\n\u003cp>I took photos at that event. That’s about the time I took note of Leo’s potential. But I didn’t know too much of Leo’s backstory until we talked this week.\u003c/p>\n\u003cp>I didn’t know his father was killed in West Oakland’s Lower Bottoms neighborhood in 1993, while Leo’s mother was pregnant with his sister.\u003c/p>\n\u003cp>I didn’t know Leo and his family spent time homeless after losing their house in the Bushrod neighborhood, during the first wave of what we’ve come to realize is a massive overhaul of this town we call home.\u003c/p>\n\u003cp>I didn’t even know that Leo had dropped a \u003ca href=\"https://www.youtube.com/watch?v=Fzd-8gmWz2w\" target=\"_blank\" rel=\"noopener noreferrer\">new video for his latest song “Back”\u003c/a> just a few days ago. A song Leo says directly correlates to the question he posed to President Obama.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fzd-8gmWz2w\u003c/p>\n\u003cp>“I wanna see what the future holds / for a brother like me, with the truth in his soul,” he raps. Overall, he said, the song is about “how I’m doing community organizing and how I’m shut out of certain spaces because of my tenacity, and how I may intimidate people.”\u003c/p>\n\u003cp>I’ve seen Leo’s fiery spirit firsthand. I’ve also seen how it can get things done. Case in point: when he and a number of other artists in the \u003ca href=\"https://www.determinationmedia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Mens Group\u003c/a> dropped “\u003ca href=\"https://vimeo.com/235669867\" target=\"_blank\" rel=\"noopener noreferrer\">Free Young Baby Huey\u003c/a>.” The song raised awareness for Dajon Ford, then being \u003ca href=\"https://www.eastbaytimes.com/2017/08/18/former-oakland-football-star-charged-as-an-adult-in-juvenile-armed-robbery-case-to-be-released/\" target=\"_blank\" rel=\"noopener noreferrer\">held in Santa Rita Jail for nearly four years without trial\u003c/a> for charges related to a robbery. Since he’d been charged as an adult for a crime committed as a juvenile, the implementation of Prop. 57 allowed Ford, Leo’s childhood friend, to be released.\u003c/p>\n\u003cp>In that music video, playing the role of a reporter is Nicole Lee, the executive director of the Urban Peace Movement. She was also in the building for Leo and Obama’s interaction.\u003c/p>\n\u003cp>“I’m really proud of him,” Lee said, talking about Leo. “This conference is amazing, and it’s a national conference that’s in Oakland, and there’s a lot of voices here from all over the country. And on one hand, that’s cool, and on the other hand, we want to make sure the voices of the people in our city of Oakland are represented. And I think Leo was the perfect person to rep the town and the East Bay.”\u003c/p>\n\u003cp>I’d agree. And I’d also say that Leo already knows what role music has in working toward social change; he’s lived it. And after seeing him press Obama on the idea, and learning more about his story, I’d not only listen to his music—he’d have my vote.\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",
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"excerpt": "When Leo Mercer, 27, sat onstage next to Obama last week in Oakland, there was no way the former president could have known his whole story.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen former President Barack Obama came to Oakland last week for the national My Brothers Keeper convention, he had no idea he’d be sitting next to Leo Mercer.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Sure, he knew he’d be talking to Steph Curry during the town hall discussion at Oakland’s Scottish Rite Temple, where attendees from across all states would be in the house. And I’d imagine Obama was told he’d be asked questions by a few of the young men who sat around him on stage during the conversation.\u003c/p>\n\u003cp>But then there was Leo Mercer, sitting just a few feet away from him.\u003c/p>\n\u003cp>Leo wore a blazer over his hoodie, his long locs done up as if they were defying gravity. I watched him go from wiggling in his seat as the microphone was passed his way to standing firm and delivering a sincere two-part question to the former leader of the free world.\u003c/p>\n\u003cp>“What role does music have in your life?” asked Leo, a 27-year-old Oakland native. “And what role can music have when it comes to liberation, policy change, social change and all those other items?”\u003c/p>\n\u003cp>“Are you a musician?” Obama said, answering Leo’s question with a question. “Yeah,” Leo replied. “I’ll have to listen to some of your tracks now,” Obama said, before going into riff about the discipline it takes to become a professional musician.\u003c/p>\n\u003cp>If you’re like most people, you’d be thrilled to hear Obama say he’ll check out your music. But I couldn’t help but notice that after his pivot, Obama didn’t really answer Leo’s question at all.\u003c/p>\n\u003cfigure id=\"attachment_13851827\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851827\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-800x535.jpg\" alt=\"Leo Mercer at Lake Merritt in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3162.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Leo Mercer at Lake Merritt in Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> couple days ago, I called Leo to chop it up about his experience. Just as I figured, it was business as usual on a Monday morning. He was on BART, headed to a healing circle with the organization he works for, Urban Peace Movement, taking time to honor the lives of those who had recently passed.\u003c/p>\n\u003cp>I could hear the train doors open and close in the background as we talked about how it felt to be on that stage, sitting a church aisle’s distance from the first African-American President this country has seen. When he asked Obama about music, Leo said, he noticed the same thing I’d noticed.\u003c/p>\n\u003cp>“He didn’t answer the part about what role music can play in terms of social movements and liberation,” said Leo. “He answered the first part, ‘What role does music play in your life?’ So, that was cool—but it would’ve been dope if answered the other part.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Leo went on to talk about another music reference Obama made while on stage, one that the media jumped on, when he implied that confident young men don’t need to act like rappers in music videos with gold jewelry and “eight women around you twerking.”\u003c/p>\n\u003cp>“I just saw this article in the \u003cem>New York Times\u003c/em> that was \u003ca href=\"https://www.nytimes.com/2019/02/23/opinion/my-brothers-keeper-obama.html\" target=\"_blank\" rel=\"noopener noreferrer\">kind of shitting on us\u003c/a>. Basically saying Obama was scolding us. I disagree with that… talking about Obama was scolding us, talking about we don’t need to be wearing big chains,” said Leo. “They were basically misinterpreting how Obama was trying to get to us. And, to be honest, he was just keeping it real with us.”\u003c/p>\n\u003cp>Leo noted that the whole conference was about supporting young men—and even if Obama’s “scolding” didn’t come off as supportive to some, Leo understood the intention behind the statement. He understood how that tied into the overall theme of the conference. Hell, that understanding of confidence is probably why he landed in the seat he was in.\u003c/p>\n\u003cp>He told me he got turned down twice before his request to attend was accepted, once through an Instagram competition and again when he applied through Urban Peace Movement. He finally got the green light through the Urban Strategies Council. And when he walked in the door of that conference last week, he says he walked in there trying to gloat.\u003c/p>\n\u003cp>“Ya’ll not about to just have this conference out here and exclude the Oakland cats—the authentic Oakland cats!” said Leo.\u003c/p>\n\u003cfigure id=\"attachment_13851822\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851822\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-800x535.jpg\" alt=\"Former president Barack Obama and the Warriors' Stephen Curry at the My Brither's Keeper conference in Oakland, Feb. 19, 2019.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC3152.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former president Barack Obama and the Warriors’ Stephen Curry at the My Brother’s Keeper conference in Oakland, Feb. 19, 2019. Photo credit Pendarvis Harshaw \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s far as being on stage with Obama, Leo, a performer in his own right, says he had some butterflies.\u003c/p>\n\u003cp>“I was nervous, but I was nervous in a way that was like, this is the uncle I ain’t seen in a minute,” said Leo, with a laugh. “I was nervous, but not nervous enough to be shaking and shit. I felt like talking to him, it was just like talking to Prince.”\u003c/p>\n\u003cp>Leo wasn’t talking about the Prince of \u003cem>Purple Rain\u003c/em>. Dr. Prince White was one of Leo’s mentors; he was also a friend of mine. Prince \u003ca href=\"https://oaklandnorth.net/2018/09/04/remembering-the-social-justice-advocate-dr-prince-white/\" target=\"_blank\" rel=\"noopener noreferrer\">passed last August\u003c/a>. He’s one of the people Leo was headed to honor during the healing circle.\u003c/p>\n\u003cp>Before he passed, Dr. Prince White did all he could to push Leo into political arenas. About two years ago, Prince pulled strings and got Leo to \u003ca href=\"https://www.youtube.com/watch?v=pf7PAlJm2x0\" target=\"_blank\" rel=\"noopener noreferrer\">perform a spoken word piece\u003c/a> in front of current State Superintendent of Schools Tony Thurmond, Assembly member Rob Bonta, and Senator Nancy Skinner.\u003c/p>\n\u003cp>I took photos at that event. That’s about the time I took note of Leo’s potential. But I didn’t know too much of Leo’s backstory until we talked this week.\u003c/p>\n\u003cp>I didn’t know his father was killed in West Oakland’s Lower Bottoms neighborhood in 1993, while Leo’s mother was pregnant with his sister.\u003c/p>\n\u003cp>I didn’t know Leo and his family spent time homeless after losing their house in the Bushrod neighborhood, during the first wave of what we’ve come to realize is a massive overhaul of this town we call home.\u003c/p>\n\u003cp>I didn’t even know that Leo had dropped a \u003ca href=\"https://www.youtube.com/watch?v=Fzd-8gmWz2w\" target=\"_blank\" rel=\"noopener noreferrer\">new video for his latest song “Back”\u003c/a> just a few days ago. A song Leo says directly correlates to the question he posed to President Obama.\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/Fzd-8gmWz2w'\n title='//www.youtube.com/embed/Fzd-8gmWz2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I wanna see what the future holds / for a brother like me, with the truth in his soul,” he raps. Overall, he said, the song is about “how I’m doing community organizing and how I’m shut out of certain spaces because of my tenacity, and how I may intimidate people.”\u003c/p>\n\u003cp>I’ve seen Leo’s fiery spirit firsthand. I’ve also seen how it can get things done. Case in point: when he and a number of other artists in the \u003ca href=\"https://www.determinationmedia.org/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Mens Group\u003c/a> dropped “\u003ca href=\"https://vimeo.com/235669867\" target=\"_blank\" rel=\"noopener noreferrer\">Free Young Baby Huey\u003c/a>.” The song raised awareness for Dajon Ford, then being \u003ca href=\"https://www.eastbaytimes.com/2017/08/18/former-oakland-football-star-charged-as-an-adult-in-juvenile-armed-robbery-case-to-be-released/\" target=\"_blank\" rel=\"noopener noreferrer\">held in Santa Rita Jail for nearly four years without trial\u003c/a> for charges related to a robbery. Since he’d been charged as an adult for a crime committed as a juvenile, the implementation of Prop. 57 allowed Ford, Leo’s childhood friend, to be released.\u003c/p>\n\u003cp>In that music video, playing the role of a reporter is Nicole Lee, the executive director of the Urban Peace Movement. She was also in the building for Leo and Obama’s interaction.\u003c/p>\n\u003cp>“I’m really proud of him,” Lee said, talking about Leo. “This conference is amazing, and it’s a national conference that’s in Oakland, and there’s a lot of voices here from all over the country. And on one hand, that’s cool, and on the other hand, we want to make sure the voices of the people in our city of Oakland are represented. And I think Leo was the perfect person to rep the town and the East Bay.”\u003c/p>\n\u003cp>I’d agree. And I’d also say that Leo already knows what role music has in working toward social change; he’s lived it. And after seeing him press Obama on the idea, and learning more about his story, I’d not only listen to his music—he’d have my vote.\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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"slug": "meet-the-screenprinters-and-artists-behind-the-oakland-teachers-strike",
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"content": "\u003cp>In a parking garage below the Oakland teachers union headquarters on Sunday, dozens of volunteers labored over the banners, posters and picket signs illustrating a historic strike.\u003c/p>\n\u003cp>A crowd of retired and current educators, college students and district parents with their children turned out for the third “art build” supporting the Oakland Education Association, whose 3,000 members are currently \u003ca href=\"https://www.kqed.org/news/11727551/oakland-teachers-go-on-strike-in-fight-for-higher-pay-more-resources\">on strike\u003c/a> as the union negotiates for higher wages and smaller class sizes.\u003c/p>\n\u003cp>They spent the Sunday morning cutting canvas, assembling picket-signs and screen-printing images sourced from local artists, including Melanie Cervantes, Favianna Rodriguez and Micah Bazant. The dominant color was red, while the messages, rendered boldly alongside illustrations of women and backpacked children, centered on fighting for the schools teachers and students deserve.\u003c/p>\n\u003cfigure id=\"attachment_13851747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-800x533.jpg\" alt=\"Local artists contributed imagery for Oakland teachers strike banners. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Local artists contributed imagery for Oakland teachers strike banners. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Solnit, an environmental-justice organizer who’s also married to an educator in Berkeley, brought materials and helped coordinate the event. “About 15 years ago I started reaching out to artists and performers to get involved with actions because, at their core, social movements are really about storytelling,” he said. “And the arts are the most powerful way to tell stories.”\u003c/p>\n\u003cp>The model, common in activist circles, is gaining traction in public education advocacy. After organizing art builds in the Midwest, Joe Brusky and other workers with the Milwaukee Teachers Education Association got the attention of the National Education Association. Since, they’ve traveled to Los Angeles and Oakland to bring people together over pro-union artwork.\u003c/p>\n\u003cfigure id=\"attachment_13851749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-800x533.jpg\" alt='Dozens of volunteers turned out for the third \"art build\" supporting striking Oakland teachers.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of volunteers turned out for the third “art build” supporting striking Oakland teachers. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Generally a union gets 5,000 copies of the sign made at the union printer and everyone’s holding the same one,” said Brusky. “That can be powerful, but it’s not as connected, it’s not as grassroots as collecting multiple images from artists in the surrounding community.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In January, Solnit and union supporters logged three 12-hour days to produce more than a thousand posters and signs, including several enormous, hand-painted banners. The event on Sunday served a practical purpose—more signs for picketers at school sites—but it was as much about continuing to build community and momentum for the labor struggle, according to Brusky.\u003c/p>\n\u003cfigure id=\"attachment_13851751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-800x533.jpg\" alt=\"David Solnit, an environmental-justice organizer, co-organized the art build. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Solnit, an environmental-justice organizer, co-organized the art build. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It gets artists talking about the movement to their followers, who come to the actions,” said Brusky, crediting art builds with a significant role in striking Los Angeles teachers recent victory. “I do social media for my union, but here, everyone’s doing social media for the union.”\u003c/p>\n\u003cp>So what makes a good pro-labor design? Some artists, he noted, worked from portraits of actual California educators. “Privatizers have made the issue of education in this country really complex,” said Brusky. “So we need to humanize and personalize the issue. In today’s world, the social media world, it’s like memes: one image with a little text goes a long way.”\u003c/p>\n\u003cp>Solnit brought his experience as an activist to the art build. Tall banners, seen resting against Oakland City Hall during recent rallies, were constructed similarly to ones at Standing Rock; they can withstand high-speed wind and rain. And the canvas is fairly thin, Solnit noted, the better to let backlight make the message pop. “So it’s like a stained-glass window,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13851746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-800x533.jpg\" alt=\"Oakland teachers strike supporters rally at Frank Ogawa Plaza in front of Oakland City Hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland teachers strike supporters rally at Frank Ogawa Plaza in front of Oakland City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Solnit said he’s never seen a national union stress art in a labor struggle like the National Education Association, which is subsidizing Brusky and his fellow organizers to spread the art build model to other locals. On Sunday, it seemed to help with recruitment. For some volunteers, including a UC Berkeley student, it was with their first encounter with organized labor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s magic to seeing something on the picket line and knowing you made it,” Solnit said. “And as any teacher will you, at the end of the day humans are meant to make things together.”\u003c/p>\n\n",
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"title": "Meet the Screenprinters and Artists Behind the Oakland Teachers Strike | KQED",
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"headline": "Meet the Screenprinters and Artists Behind the Oakland Teachers Strike",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a parking garage below the Oakland teachers union headquarters on Sunday, dozens of volunteers labored over the banners, posters and picket signs illustrating a historic strike.\u003c/p>\n\u003cp>A crowd of retired and current educators, college students and district parents with their children turned out for the third “art build” supporting the Oakland Education Association, whose 3,000 members are currently \u003ca href=\"https://www.kqed.org/news/11727551/oakland-teachers-go-on-strike-in-fight-for-higher-pay-more-resources\">on strike\u003c/a> as the union negotiates for higher wages and smaller class sizes.\u003c/p>\n\u003cp>They spent the Sunday morning cutting canvas, assembling picket-signs and screen-printing images sourced from local artists, including Melanie Cervantes, Favianna Rodriguez and Micah Bazant. The dominant color was red, while the messages, rendered boldly alongside illustrations of women and backpacked children, centered on fighting for the schools teachers and students deserve.\u003c/p>\n\u003cfigure id=\"attachment_13851747\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851747\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-800x533.jpg\" alt=\"Local artists contributed imagery for Oakland teachers strike banners. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Local artists contributed imagery for Oakland teachers strike banners. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Solnit, an environmental-justice organizer who’s also married to an educator in Berkeley, brought materials and helped coordinate the event. “About 15 years ago I started reaching out to artists and performers to get involved with actions because, at their core, social movements are really about storytelling,” he said. “And the arts are the most powerful way to tell stories.”\u003c/p>\n\u003cp>The model, common in activist circles, is gaining traction in public education advocacy. After organizing art builds in the Midwest, Joe Brusky and other workers with the Milwaukee Teachers Education Association got the attention of the National Education Association. Since, they’ve traveled to Los Angeles and Oakland to bring people together over pro-union artwork.\u003c/p>\n\u003cfigure id=\"attachment_13851749\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-800x533.jpg\" alt='Dozens of volunteers turned out for the third \"art build\" supporting striking Oakland teachers.' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dozens of volunteers turned out for the third “art build” supporting striking Oakland teachers. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Generally a union gets 5,000 copies of the sign made at the union printer and everyone’s holding the same one,” said Brusky. “That can be powerful, but it’s not as connected, it’s not as grassroots as collecting multiple images from artists in the surrounding community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In January, Solnit and union supporters logged three 12-hour days to produce more than a thousand posters and signs, including several enormous, hand-painted banners. The event on Sunday served a practical purpose—more signs for picketers at school sites—but it was as much about continuing to build community and momentum for the labor struggle, according to Brusky.\u003c/p>\n\u003cfigure id=\"attachment_13851751\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851751\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-800x533.jpg\" alt=\"David Solnit, an environmental-justice organizer, co-organized the art build. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-David-Solnit.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Solnit, an environmental-justice organizer, co-organized the art build. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It gets artists talking about the movement to their followers, who come to the actions,” said Brusky, crediting art builds with a significant role in striking Los Angeles teachers recent victory. “I do social media for my union, but here, everyone’s doing social media for the union.”\u003c/p>\n\u003cp>So what makes a good pro-labor design? Some artists, he noted, worked from portraits of actual California educators. “Privatizers have made the issue of education in this country really complex,” said Brusky. “So we need to humanize and personalize the issue. In today’s world, the social media world, it’s like memes: one image with a little text goes a long way.”\u003c/p>\n\u003cp>Solnit brought his experience as an activist to the art build. Tall banners, seen resting against Oakland City Hall during recent rallies, were constructed similarly to ones at Standing Rock; they can withstand high-speed wind and rain. And the canvas is fairly thin, Solnit noted, the better to let backlight make the message pop. “So it’s like a stained-glass window,” he said.\u003c/p>\n\u003cfigure id=\"attachment_13851746\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851746\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-800x533.jpg\" alt=\"Oakland teachers strike supporters rally at Frank Ogawa Plaza in front of Oakland City Hall. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/OEA-Art-Build-3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland teachers strike supporters rally at Frank Ogawa Plaza in front of Oakland City Hall. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Solnit said he’s never seen a national union stress art in a labor struggle like the National Education Association, which is subsidizing Brusky and his fellow organizers to spread the art build model to other locals. On Sunday, it seemed to help with recruitment. For some volunteers, including a UC Berkeley student, it was with their first encounter with organized labor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“There’s magic to seeing something on the picket line and knowing you made it,” Solnit said. “And as any teacher will you, at the end of the day humans are meant to make things together.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "despite-doubling-budget-aggregate-space-gallery-faces-displacement",
"title": "Aggregate Space Gallery Faces Displacement, Despite Doubling Budget",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Monday, Feb. 18, Conrad Meyers addressed roughly 40 supporters of Aggregate Space Gallery convened for dinner in the workshop adjacent to the nonprofit, artist-run space in Oakland. He wore paint-splattered jeans and a leather jacket, and apologized for the chill.\u003c/p>\n\u003cp>Conrad and his partner Willis Meyers built out the warehouse themselves and opened Aggregate in 2011, offering conceptual and video artists a sharp curatorial eye and malleable exhibition space. Now they’re in the awkward position of doing better than ever, yet also facing an existential threat.\u003c/p>\n\u003cp>“So, our budget just ballooned by $100,000 from national funders who want us to stay in Oakland,” Meyers said, prompting applause. “But, the thing is, we’re still getting priced out.”\u003c/p>\n\u003cfigure id=\"attachment_13851541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851541\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Budget-800x533.jpg\" alt=\"Aggregate Space Gallery's budget has doubled every year since 2015, but it's still being displaced.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aggregate Space Gallery’s budget has doubled every year since 2015, but it’s still being displaced. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The purpose of the invite-only supper, attended largely by artists and nonprofit professionals, was to turn an ending into a beginning. After two years of negotiations, Meyers said, the landlord is insisting on a $1,500 rent increase and for the tenants to absorb the cost of an estimated $50,000 in code-compliance work. So the Meyers anticipate leaving by the beginning of August, and they’re looking for somewhere to land.\u003c/p>\n\u003cp>Meyers wanted recommendations on temporary space for satellite programming—noting that, in the working timeline, one National Endowment for the Arts-supported Aggregate show doesn’t have a gallery—and to spread word of a wider search, perhaps with nonprofit partners, for property to buy. Meyers, a fabricator and project manager by trade, said his body can withstand one more from-scratch warehouse buildout.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Meyers want a similar mix of the studio and exhibition space, along with a small black-box theater, that’s currently housed at Aggregate, and to better accommodate event rentals and classes for a new revenue stream. “We know we don’t want to be in the all-windows bottom-floor of condos that’ll be a Gap by 2024,” added Meyers, perhaps referencing officials’ efforts to house displaced nonprofits in new developments.\u003c/p>\n\u003cfigure id=\"attachment_13851211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/5person-800x450.jpg\" alt=\"Still from 'Between Beauty & Horror.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Between Beauty & Horror.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the next room, Leila Weefur’s stirring video piece \u003cem>Between Beauty & Horror\u003c/em>, which critic Sarah Hotchkiss recently \u003ca href=\"https://www.kqed.org/arts/13851209/leila-weefur-positions-black-experience-between-beauty-horror\">lauded\u003c/a> for provoking productive discomfort, lit up the gallery. Lately, Meyers said, \u003ca href=\"https://aggregatespacegallery.org/\">Aggregate\u003c/a> has received national recognition. “Oakland has few spaces that offer the kind of support and attention to detail provided by Aggregate,” remarked the Andy Warhol Foundation for the Visual Arts, one of the space’s new funders, in a recent grant announcement. Aggregate’s budget has doubled every year for the past four years—in 2018 reaching $142,000.\u003c/p>\n\u003cp>Meyers’ presentation, interjected by toasts and some corrections from Willis, moved on to fundraising. Early on, Aggregate found it difficult to raise more than several thousand with an annual event; the Meyers don’t know enough wealthy people, and they tired of feeling like they were shaking down their peers. So they focused on grant-making. Weefur’s show, for example, is supported by $32,800 from the Creative Work Fund. The trouble with many grants, though, is they don’t cover operations.\u003c/p>\n\u003cp>Often, Meyers said, people encourage Aggregate to sell art. For one, he noted dryly, the Meyers don’t have relationships with people who buy art. And they tend to show artwork—not least the conceptual installations—that resist commodification. That’s part of the point, added Willis. From the other side of the room, she read an Andrew Simonet quote elevating art as the small portion of images made for reasons other than motivating the viewer to purchase something.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We don’t want to be in the all-windows bottom-floor of condos that’ll be a Gap by 2024.’\u003ccite>Conrad Meyers\u003c/cite>\u003c/aside>\n\u003cp>Dinner ceded to tea and miniature ice-cream cones. Time-lapse video, taken by a camera mounted on the gallery ceiling, illustrated the hidden labor behind every show. On the tables were copies of \u003ca href=\"https://static1.squarespace.com/static/556101b3e4b0c18afa3f0a0f/t/5bf53e464ae2376294e4c0ef/1542798918571/2018+The+Lab+Papers+BAAEcosystem+Carrie+Hott.pdf\">a chart\u003c/a>, created for The Lab by Carrie Hott, showing the operating budgets of local arts organizations. In the East Bay, Meyers pointed out, there are few arts organizations with budgets between $200,000 and $4 million, and in a healthy cultural ecosystem the latter depend on the former to develop emerging artists.\u003c/p>\n\u003cp>The talk broke into room-wide discussion. There were tips on schmoozing (“If I was a VC or an angel or incubator…”) and a brief consideration of pop-ups, plus encouragement, styled as businesslike pragmatism, to focus less on regional and more on national funders—such is the dearth of local arts patronage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At one point, several volunteer signup sheets for committees including real estate and fundraising circulated. “One’s to help us sell stuff on Craigslist,” Meyers said. “Another is to help us tear this place down.”\u003c/p>\n\n",
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"excerpt": "At an invite-only dinner, supporters of the artist-run nonprofit gallery brainstormed ways to turn an ending into a beginning.",
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"title": "Aggregate Space Gallery Faces Displacement, Despite Doubling Budget | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Monday, Feb. 18, Conrad Meyers addressed roughly 40 supporters of Aggregate Space Gallery convened for dinner in the workshop adjacent to the nonprofit, artist-run space in Oakland. He wore paint-splattered jeans and a leather jacket, and apologized for the chill.\u003c/p>\n\u003cp>Conrad and his partner Willis Meyers built out the warehouse themselves and opened Aggregate in 2011, offering conceptual and video artists a sharp curatorial eye and malleable exhibition space. Now they’re in the awkward position of doing better than ever, yet also facing an existential threat.\u003c/p>\n\u003cp>“So, our budget just ballooned by $100,000 from national funders who want us to stay in Oakland,” Meyers said, prompting applause. “But, the thing is, we’re still getting priced out.”\u003c/p>\n\u003cfigure id=\"attachment_13851541\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851541\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Budget-800x533.jpg\" alt=\"Aggregate Space Gallery's budget has doubled every year since 2015, but it's still being displaced.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Budget.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aggregate Space Gallery’s budget has doubled every year since 2015, but it’s still being displaced. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The purpose of the invite-only supper, attended largely by artists and nonprofit professionals, was to turn an ending into a beginning. After two years of negotiations, Meyers said, the landlord is insisting on a $1,500 rent increase and for the tenants to absorb the cost of an estimated $50,000 in code-compliance work. So the Meyers anticipate leaving by the beginning of August, and they’re looking for somewhere to land.\u003c/p>\n\u003cp>Meyers wanted recommendations on temporary space for satellite programming—noting that, in the working timeline, one National Endowment for the Arts-supported Aggregate show doesn’t have a gallery—and to spread word of a wider search, perhaps with nonprofit partners, for property to buy. Meyers, a fabricator and project manager by trade, said his body can withstand one more from-scratch warehouse buildout.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Meyers want a similar mix of the studio and exhibition space, along with a small black-box theater, that’s currently housed at Aggregate, and to better accommodate event rentals and classes for a new revenue stream. “We know we don’t want to be in the all-windows bottom-floor of condos that’ll be a Gap by 2024,” added Meyers, perhaps referencing officials’ efforts to house displaced nonprofits in new developments.\u003c/p>\n\u003cfigure id=\"attachment_13851211\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/5person-800x450.jpg\" alt=\"Still from 'Between Beauty & Horror.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/5person.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Between Beauty & Horror.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the next room, Leila Weefur’s stirring video piece \u003cem>Between Beauty & Horror\u003c/em>, which critic Sarah Hotchkiss recently \u003ca href=\"https://www.kqed.org/arts/13851209/leila-weefur-positions-black-experience-between-beauty-horror\">lauded\u003c/a> for provoking productive discomfort, lit up the gallery. Lately, Meyers said, \u003ca href=\"https://aggregatespacegallery.org/\">Aggregate\u003c/a> has received national recognition. “Oakland has few spaces that offer the kind of support and attention to detail provided by Aggregate,” remarked the Andy Warhol Foundation for the Visual Arts, one of the space’s new funders, in a recent grant announcement. Aggregate’s budget has doubled every year for the past four years—in 2018 reaching $142,000.\u003c/p>\n\u003cp>Meyers’ presentation, interjected by toasts and some corrections from Willis, moved on to fundraising. Early on, Aggregate found it difficult to raise more than several thousand with an annual event; the Meyers don’t know enough wealthy people, and they tired of feeling like they were shaking down their peers. So they focused on grant-making. Weefur’s show, for example, is supported by $32,800 from the Creative Work Fund. The trouble with many grants, though, is they don’t cover operations.\u003c/p>\n\u003cp>Often, Meyers said, people encourage Aggregate to sell art. For one, he noted dryly, the Meyers don’t have relationships with people who buy art. And they tend to show artwork—not least the conceptual installations—that resist commodification. That’s part of the point, added Willis. From the other side of the room, she read an Andrew Simonet quote elevating art as the small portion of images made for reasons other than motivating the viewer to purchase something.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We don’t want to be in the all-windows bottom-floor of condos that’ll be a Gap by 2024.’\u003ccite>Conrad Meyers\u003c/cite>\u003c/aside>\n\u003cp>Dinner ceded to tea and miniature ice-cream cones. Time-lapse video, taken by a camera mounted on the gallery ceiling, illustrated the hidden labor behind every show. On the tables were copies of \u003ca href=\"https://static1.squarespace.com/static/556101b3e4b0c18afa3f0a0f/t/5bf53e464ae2376294e4c0ef/1542798918571/2018+The+Lab+Papers+BAAEcosystem+Carrie+Hott.pdf\">a chart\u003c/a>, created for The Lab by Carrie Hott, showing the operating budgets of local arts organizations. In the East Bay, Meyers pointed out, there are few arts organizations with budgets between $200,000 and $4 million, and in a healthy cultural ecosystem the latter depend on the former to develop emerging artists.\u003c/p>\n\u003cp>The talk broke into room-wide discussion. There were tips on schmoozing (“If I was a VC or an angel or incubator…”) and a brief consideration of pop-ups, plus encouragement, styled as businesslike pragmatism, to focus less on regional and more on national funders—such is the dearth of local arts patronage.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At one point, several volunteer signup sheets for committees including real estate and fundraising circulated. “One’s to help us sell stuff on Craigslist,” Meyers said. “Another is to help us tear this place down.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "First Musical at Oakland High in 40 Years Could Fall Victim to Strike",
"headTitle": "First Musical at Oakland High in 40 Years Could Fall Victim to Strike | KQED",
"content": "\u003cp>It was in the third hour of rehearsal for \u003cem>Hairspray\u003c/em> at Oakland High School last Thursday when volunteer choreographer Kasondra Walsh rallied the students on stage for the big show-stopper.\u003c/p>\n\u003cp>“OK, band, the cue is ‘I haven’t been out of this apartment in 20 years,'” she shouted, directing the actors into formation. “OK? Let’s go!”\u003c/p>\n\u003cp>The pit band counted off, the dancers broke into movement, and lead actress Trinity Chau began singing: \u003cem>Hey mama, hey mama, look around / Everybody’s groovin’ to a brand-new sound!\u003c/em>\u003c/p>\n\u003cp>Oakland High School’s theater isn’t usually so active. In fact, the rehearsals currently underway for \u003cem>Hairspray\u003c/em> are a milestone: according to longtime faculty, Oakland High School hasn’t mounted a full Broadway musical in over 40 years.\u003c/p>\n\u003cfigure id=\"attachment_13851157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS6-800x536.jpg\" alt=\"The cast of 'Hairspray' rehearses at Oakland High School.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-1200x804.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hairspray’ rehearses at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the looming teachers’ strike in Oakland could lower the curtain on the students’ hard work. Opening night is scheduled for March 1. Oakland teachers announced Saturday that unless something “dramatic” happens, \u003ca href=\"https://www.kqed.org/news/11726864/oakland-teachers-announce-plans-to-strike-starting-on-thursday\" target=\"_blank\" rel=\"noopener\">they’ll go on strike starting Thursday, Feb. 21\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m just so excited for this play. But if it’s not going to happen, I just don’t know what to say,” said Chau, an 18-year-old in her senior year. “All the money we’ve invested into this show is more than $10,000. And if the strike happens on the week that we’re performing, everything could just be lost.”\u003c/p>\n\u003cp>Chau added that the musical had made her more excited about coming to school each day, a feeling echoed by her co-star, 17-year-old Kimberly Wong.\u003c/p>\n\u003cp>“Before \u003cem>Hairspray\u003c/em>, there was nothing to do after school, and I was really bored sometimes,” said Wong. “Now, I always have something to look forward to, because we’re like a little family.”\u003c/p>\n\u003cfigure id=\"attachment_13851153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS4-800x485.jpg\" alt=\"Kimberly Wong rehearsing as Velma in 'Hairspray' at Oakland High School.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimberly Wong rehearsing as Velma in ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It puts student actors and volunteers in a conflicted position: they believe in the show and want it to go on, but they also support the strike and don’t want to cross the picket line.\u003c/p>\n\u003cp>Barring a resolution, Christopher Johnston, \u003cem>Hairspray\u003c/em>‘s director, puts it plainly: “For me, and for these kids, it’s basically the worst timing possible.”\u003c/p>\n\u003ch2>‘We Don’t Have a Drama Department’\u003c/h2>\n\u003cp>Johnston hatched the idea for \u003cem>Hairspray\u003c/em> with fellow teacher David Byrd, who came to the school some five years ago and revitalized the music program. “We’ve had long periods here at Oakland High without any music program at all, and he’s really brought it back,” Johnston said.\u003c/p>\n\u003cp>In the past few years, students have thrown together glee club-type performances, writing and rehearsing themselves. “We don’t have a drama department, we don’t have a drama program,” said Johnston, who teaches English. “It’s always been a teacher doing it in addition to their normal program, which is a big lift.”\u003c/p>\n\u003cp>Nevertheless, he and Byrd decided the kids deserved more.\u003c/p>\n\u003cfigure id=\"attachment_13851151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS1-800x533.jpg\" alt=\"David Byrd consults with the pit band in rehearsals for 'Hairspray' at Oakland High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrd consults with the pit band in rehearsals for ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea to mount \u003cem>Hairspray\u003c/em> had one major setback: there was no budget to produce a musical. “We had a grant a few years ago which gave us some money, but there’s no operating budget for music or theater arts here. So we had to scrounge it together ourselves, and right now it’s all out of pocket,” Johnston said.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/oaklandschools\" target=\"_blank\" rel=\"noopener\">See More of KQED’s Coverage of the Debates Surrounding Oakland Schools\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/oaklandschools\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RootsIntlAcademy.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>As word spread, the community supported the musical. That includes a special discounted rate from a rental company for lights, microphones and spotlights, all of which the school’s theater lacks. It also includes volunteer hours from a local choreographer and a vocal coach, both donating their time. There have been advance ticket sales for performances, and offers for help with sets and production on social media.\u003c/p>\n\u003cp>When the strike starts, the 23-member cast of \u003cem>Hairspray\u003c/em> will likely move to a temporary rehearsal location. Johnston says he’s talked to a theater company, a museum and a church in the area about free use of space.\u003c/p>\n\u003cp>But for the scheduled performances of March 1 and 2, there’s only one theater in mind.\u003c/p>\n\u003cp>“Some people have thought, ‘Well, we could do the show someplace else,'” Johnston said. “And I’m like, the whole point is to have this show \u003cem>at\u003c/em> Oakland High School, because it’s about changing the culture here. But is that feasible? I don’t know.”\u003c/p>\n\u003cfigure id=\"attachment_13851155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851155\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS3-800x533.jpg\" alt=\"Trevahn Srey leaps over Trinity Chau during rehearsals for 'Hairspray' at Oakland High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevahn Srey leaps over Trinity Chau during rehearsals for ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Near the end of rehearsal, 14-year-old Trevonne Shanklin, who plays the character of Seaweed, sat on the side of the stage, consulting with the band on parts. “I want to be an actor when I grow up, so this is motivation, and inspiration,” he said.\u003c/p>\n\u003cp>“It makes me want to come to school more, there’s a strong community in this,” added co-star Trevahn Srey, an 18-year-old senior who plays Link. “I don’t know how it’s going to work, we can’t really push back the show, since we already sold tickets. But it’s really affecting us.”\u003c/p>\n\u003cp>For Chau, who’s already applied to colleges as a theater arts major, the inequality of funding for her school is as hard to take as the uncertainty of \u003cem>Hairspray\u003c/em>‘s opening night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s like, other schools have something going on like this,” she said. “Why can’t \u003cem>we\u003c/em> have it, you know?”\u003c/p>\n\n",
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"excerpt": "Students at the budget-strapped school say 'Hairspray' has reinvigorated their spirit—but the show might not go on, due to the teachers' strike.",
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"description": "Students at the budget-strapped school say 'Hairspray' has reinvigorated their spirit—but the show might not go on, due to the teachers' strike.",
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"headline": "First Musical at Oakland High in 40 Years Could Fall Victim to Strike",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was in the third hour of rehearsal for \u003cem>Hairspray\u003c/em> at Oakland High School last Thursday when volunteer choreographer Kasondra Walsh rallied the students on stage for the big show-stopper.\u003c/p>\n\u003cp>“OK, band, the cue is ‘I haven’t been out of this apartment in 20 years,'” she shouted, directing the actors into formation. “OK? Let’s go!”\u003c/p>\n\u003cp>The pit band counted off, the dancers broke into movement, and lead actress Trinity Chau began singing: \u003cem>Hey mama, hey mama, look around / Everybody’s groovin’ to a brand-new sound!\u003c/em>\u003c/p>\n\u003cp>Oakland High School’s theater isn’t usually so active. In fact, the rehearsals currently underway for \u003cem>Hairspray\u003c/em> are a milestone: according to longtime faculty, Oakland High School hasn’t mounted a full Broadway musical in over 40 years.\u003c/p>\n\u003cfigure id=\"attachment_13851157\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851157\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS6-800x536.jpg\" alt=\"The cast of 'Hairspray' rehearses at Oakland High School.\" width=\"800\" height=\"536\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-800x536.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-768x515.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-1020x684.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6-1200x804.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS6.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast of ‘Hairspray’ rehearses at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the looming teachers’ strike in Oakland could lower the curtain on the students’ hard work. Opening night is scheduled for March 1. Oakland teachers announced Saturday that unless something “dramatic” happens, \u003ca href=\"https://www.kqed.org/news/11726864/oakland-teachers-announce-plans-to-strike-starting-on-thursday\" target=\"_blank\" rel=\"noopener\">they’ll go on strike starting Thursday, Feb. 21\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m just so excited for this play. But if it’s not going to happen, I just don’t know what to say,” said Chau, an 18-year-old in her senior year. “All the money we’ve invested into this show is more than $10,000. And if the strike happens on the week that we’re performing, everything could just be lost.”\u003c/p>\n\u003cp>Chau added that the musical had made her more excited about coming to school each day, a feeling echoed by her co-star, 17-year-old Kimberly Wong.\u003c/p>\n\u003cp>“Before \u003cem>Hairspray\u003c/em>, there was nothing to do after school, and I was really bored sometimes,” said Wong. “Now, I always have something to look forward to, because we’re like a little family.”\u003c/p>\n\u003cfigure id=\"attachment_13851153\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851153\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS4-800x485.jpg\" alt=\"Kimberly Wong rehearsing as Velma in 'Hairspray' at Oakland High School.\" width=\"800\" height=\"485\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-800x485.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-160x97.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-768x466.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-1020x619.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4-1200x728.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS4.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kimberly Wong rehearsing as Velma in ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It puts student actors and volunteers in a conflicted position: they believe in the show and want it to go on, but they also support the strike and don’t want to cross the picket line.\u003c/p>\n\u003cp>Barring a resolution, Christopher Johnston, \u003cem>Hairspray\u003c/em>‘s director, puts it plainly: “For me, and for these kids, it’s basically the worst timing possible.”\u003c/p>\n\u003ch2>‘We Don’t Have a Drama Department’\u003c/h2>\n\u003cp>Johnston hatched the idea for \u003cem>Hairspray\u003c/em> with fellow teacher David Byrd, who came to the school some five years ago and revitalized the music program. “We’ve had long periods here at Oakland High without any music program at all, and he’s really brought it back,” Johnston said.\u003c/p>\n\u003cp>In the past few years, students have thrown together glee club-type performances, writing and rehearsing themselves. “We don’t have a drama department, we don’t have a drama program,” said Johnston, who teaches English. “It’s always been a teacher doing it in addition to their normal program, which is a big lift.”\u003c/p>\n\u003cp>Nevertheless, he and Byrd decided the kids deserved more.\u003c/p>\n\u003cfigure id=\"attachment_13851151\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851151\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS1-800x533.jpg\" alt=\"David Byrd consults with the pit band in rehearsals for 'Hairspray' at Oakland High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">David Byrd consults with the pit band in rehearsals for ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The idea to mount \u003cem>Hairspray\u003c/em> had one major setback: there was no budget to produce a musical. “We had a grant a few years ago which gave us some money, but there’s no operating budget for music or theater arts here. So we had to scrounge it together ourselves, and right now it’s all out of pocket,” Johnston said.\u003c/p>\n\u003caside class=\"alignright\">\n\u003ch3>\u003ca href=\"https://www.kqed.org/oaklandschools\" target=\"_blank\" rel=\"noopener\">See More of KQED’s Coverage of the Debates Surrounding Oakland Schools\u003c/a>\u003c/h3>\n\u003cfigure>\u003ca href=\"https://www.kqed.org/oaklandschools\" target=\"_blank\" rel=\"noopener\">\u003cimg decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2019/01/RootsIntlAcademy.jpg\" alt=\"\">\u003c/a>\u003c/figure>\n\u003c/aside>\n\u003cp>As word spread, the community supported the musical. That includes a special discounted rate from a rental company for lights, microphones and spotlights, all of which the school’s theater lacks. It also includes volunteer hours from a local choreographer and a vocal coach, both donating their time. There have been advance ticket sales for performances, and offers for help with sets and production on social media.\u003c/p>\n\u003cp>When the strike starts, the 23-member cast of \u003cem>Hairspray\u003c/em> will likely move to a temporary rehearsal location. Johnston says he’s talked to a theater company, a museum and a church in the area about free use of space.\u003c/p>\n\u003cp>But for the scheduled performances of March 1 and 2, there’s only one theater in mind.\u003c/p>\n\u003cp>“Some people have thought, ‘Well, we could do the show someplace else,'” Johnston said. “And I’m like, the whole point is to have this show \u003cem>at\u003c/em> Oakland High School, because it’s about changing the culture here. But is that feasible? I don’t know.”\u003c/p>\n\u003cfigure id=\"attachment_13851155\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851155\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/HS3-800x533.jpg\" alt=\"Trevahn Srey leaps over Trinity Chau during rehearsals for 'Hairspray' at Oakland High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/HS3.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevahn Srey leaps over Trinity Chau during rehearsals for ‘Hairspray’ at Oakland High School. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Near the end of rehearsal, 14-year-old Trevonne Shanklin, who plays the character of Seaweed, sat on the side of the stage, consulting with the band on parts. “I want to be an actor when I grow up, so this is motivation, and inspiration,” he said.\u003c/p>\n\u003cp>“It makes me want to come to school more, there’s a strong community in this,” added co-star Trevahn Srey, an 18-year-old senior who plays Link. “I don’t know how it’s going to work, we can’t really push back the show, since we already sold tickets. But it’s really affecting us.”\u003c/p>\n\u003cp>For Chau, who’s already applied to colleges as a theater arts major, the inequality of funding for her school is as hard to take as the uncertainty of \u003cem>Hairspray\u003c/em>‘s opening night.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s like, other schools have something going on like this,” she said. “Why can’t \u003cem>we\u003c/em> have it, you know?”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "spurred-by-possible-sale-vulcan-arts-lofts-tenants-rally-for-rent-control",
"title": "Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control",
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"headTitle": "Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control | KQED",
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"content": "\u003cp>“Is this your whip?”\u003c/p>\n\u003cp>Andrew Pulkrabek was on the dancefloor of his neighbor Bri Crabtree’s loft at the Vulcan, a sprawling live-work community of some 200 residents in East Oakland, inspecting a hot-pink whip. Mirrors lined a wall near the storage nook known as “clown corner,” all beneath the vaulted ceilings that accommodate Crabtree’s weekly juggling club. Confidently, Pulkrabek cracked the whip. “Not my first rodeo,” he said.\u003c/p>\n\u003cp>Pulkrabek is a musician and a stuntman, a juggler and a roller-skater—an “entertainer,” he said—whose residence in the Vulcan, a onetime foundry in the Fruitvale district, provides necessary space for his multi-hyphenate circus arts practice. At his kitchen table, overlooking another mirror-lined dancefloor, Pulkrabek stressed the significance of the Vulcan to Burning Man-associated artists internationally.\u003c/p>\n\u003cp>“It’s probably the largest concentration of circus performers living and working under one roof,” he said, adding that there’s “without a doubt” more jugglers in residence than anywhere.\u003c/p>\n\u003cp>Lately, though, Pulkrabek has met plenty of his non-Burner neighbors. He’s an organizer of the Vulcan Tenants Union, which formed after the property, owned by politically connected developer Madison Park Financial, hit the market last year for $16,250,000. Now, the union, representing approximately 100 tenants, is working with attorneys and a private investigator to acquire rent-control protections. They say dozens of homes and workspaces are on the line.\u003c/p>\n\u003cfigure id=\"attachment_13850955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg\" alt=\"Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time of skyhigh housing costs and intense competition for performing arts-appropriate space in Oakland, the tenants union hopes to preserve a longtime live-work community for artists and craftspeople dependent on its relative affordability, high ceilings and communal ambiance. Sale to a commercial investor, they say, means near-certain displacement, and they point to Madison Park’s own marketing materials as proof.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Madison Park’s offering memorandum for investors, acquired by KQED, advertises the Vulcan property as “Rent Control Exempt: A rare opportunity in Oakland.” The pitch goes on to explain that, by increasing rent 15 percent and passing more utilities costs on to tenants, a buyer could nearly double the Vulcan’s current gross profit annually.\u003c/p>\n\u003cp>“That’s part of what brokers do,” said Simon Chen, Madison Park’s chief operating officer. “I don’t think you’ll find an offering memo that doesn’t have that kind of sales approach.”\u003c/p>\n\u003cp>The tenants also worry they’ll absorb the cost of necessary repairs. Chen said Madison Park has invested in life-safety improvements, including fire sprinklers, but conceded that the place needs work. “It was converted in 1987, and even brand new buildings from 1987 have been renovated,” he said.\u003c/p>\n\u003cp>At $16.2 million, the Vulcan isn’t for a buyer who wants to keep it as it is. The push for rent control, Pulkrabek explained, is about effectively lowering the sale price in order to attract a nonprofit developer—a buyer motivated by stewardship instead of speculation. To that end, live-work advocacy organization Safer DIY Spaces helped the tenants retain attorneys to challenge the property’s rent control exemption before the city’s Rent Adjustment Program board.\u003c/p>\n\u003cp>In Oakland, new construction or residential conversions completed after 1983 are generally exempt from rent control protections. Though the Vulcan’s live-work conversion occurred in 1987, argued the tenants’ attorney, Leah Hess, the exemption is invalid because people were actually living there previously. The rent board will consider the 27 petitions in April.\u003c/p>\n\u003cp>“A negative ruling will put people out of their homes,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13850954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg\" alt=\"Outside at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Chen, the 1987 certificates of occupancy settle the matter. An earlier group of Vulcan tenants unsuccessfully petitioned the rent board on similar grounds in 2005, he said, and an appeals court upheld the denial. According to Hess, this time is different. “The thrust of the petitions back then was a lack of certificates of occupancy,” she said. “We’re saying the rent control exemption was issued through mistake or fraud.”\u003c/p>\n\u003cp>Lia Walker moved into the Vulcan in 2006, and in 2011 the photographer started working as on-site manager for Madison Park. The company is owned and operated by John Protopappas, who’s served as a campaign fundraiser for Oakland Mayor Libby Schaaf, and it has overseen several live-work conversions and new market-rate construction projects in the city. The company also managed an artists’ live-work complex at 1919 Market St. before officials deemed it uninhabitable, resulting in the displacement of dozens.\u003c/p>\n\u003cp>For years, Walker said, Madison Park and the Vulcan tenants got along well, but relations worsened as the real estate market improved. The rent started increasing, sometimes dramatically; Madison Park hiked the cost of her darkroom, housed in a separate workspace, by 55 percent, she said. After clashing with a new supervisor, Walker was fired in 2014. “We didn’t share a philosophy or sense of fairness anymore,” she said.\u003c/p>\n\u003cp>Drea Lusion, who lives at the Vulcan in a unit with six people, said Madison Park’s decision last year to ban the “free zone,” a hallway area where tenants left art supplies and household goods for communal sharing, also helped inspire the tenants to organize. It was around the time of 7- to 10-percent rent increases for many units, she said. Prospective buyers were regularly touring the property; Madison Park called the free pile a fire hazard. “That was galvanizing,” she said. “Like, what will they take next?”\u003c/p>\n\u003cfigure id=\"attachment_13850952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg\" alt=\"A tenants' shrine to the "Free Zone" at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tenants’ shrine to the “Free Zone” at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, there is no sale pending for the Vulcan. But it seems clear that, at $16.2 million, the property is out of reach to anyone but a commercial investor. Last year, the Community Arts Stabilization Trust, which develops property for arts uses, partnered with affordable housing developer East Bay Asian Local Development Corporation to explore purchasing the property, but EBALDC said in a statement that they “did not have the resources.”\u003c/p>\n\u003cp>Kelley Kahn, Oakland’s policy director for art spaces, helped bring EBALDC and CAST to the table with Madison Park, and she said the real estate company has been cooperative and open to considering nonprofit buyers. As an industrial live-work space, though, Kahn said the project doesn’t align neatly with the traditional financing models for affordable housing.\u003c/p>\n\u003cp>“The project requires identifying both innovative funding sources and creative development partners with expertise in preserving arts and culture spaces—ideally with a pathway for the tenants themselves to become owners,” she said. “This work remains ongoing.”\u003c/p>\n\u003cfigure id=\"attachment_13850956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850956\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg\" alt=\"Andrew Pulkrabek and TKTKTK in the courtyard at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek and Drea Lusion in a courtyard at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan of Safer DIY Spaces, the organization funding the Vulcan’s petition effort, said overturning the rent-control exemption would set a significant precedent. Other multiunit buildings formalized as live-work after 1983 were previously used residentially in the common tradition of artists living in warehouses, and the rent board could open the door for them to seek rent control protections. “It’s going to have a ripple effect,” he said.\u003c/p>\n\u003cp>However, Keenan said, Safer DIY Spaces can’t afford to underwrite the petitions for much longer, so the Vulcan Tenants Union recently launched a $50,000 fundraiser. The figure covers the work of two attorneys, two paralegals and a private investigator, according to Pulkrabek. They have anecdotal evidence of residential use at the Vulcan before 1987, but more research will bolster their case.\u003c/p>\n\u003cp>Lusion and Pulkrabek walked through the maze-like hallways of the Vulcan, pointing out murals by friends, and a plant-laden courtyard. Behind one building was a small park lined with broken pianos. The tenants once tended to atomize along subcultural lines, they explained, the circus artists mingling little with, say, the musicians—until the tenants union. “If anything, this has brought us together,” Lusion said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Added Pulkrabek, “It’s reminded us of what we’re trying to preserve.”\u003c/p>\n\n",
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"excerpt": "The 52-unit East Oakland live-work complex, currently housing some 200 artists, is being marketed as a rare, rent-control exempt investment opportunity. ",
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"title": "Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control | KQED",
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"headline": "Spurred by Possible Sale, Tenants of Vulcan Arts Lofts Rally for Rent Control",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Is this your whip?”\u003c/p>\n\u003cp>Andrew Pulkrabek was on the dancefloor of his neighbor Bri Crabtree’s loft at the Vulcan, a sprawling live-work community of some 200 residents in East Oakland, inspecting a hot-pink whip. Mirrors lined a wall near the storage nook known as “clown corner,” all beneath the vaulted ceilings that accommodate Crabtree’s weekly juggling club. Confidently, Pulkrabek cracked the whip. “Not my first rodeo,” he said.\u003c/p>\n\u003cp>Pulkrabek is a musician and a stuntman, a juggler and a roller-skater—an “entertainer,” he said—whose residence in the Vulcan, a onetime foundry in the Fruitvale district, provides necessary space for his multi-hyphenate circus arts practice. At his kitchen table, overlooking another mirror-lined dancefloor, Pulkrabek stressed the significance of the Vulcan to Burning Man-associated artists internationally.\u003c/p>\n\u003cp>“It’s probably the largest concentration of circus performers living and working under one roof,” he said, adding that there’s “without a doubt” more jugglers in residence than anywhere.\u003c/p>\n\u003cp>Lately, though, Pulkrabek has met plenty of his non-Burner neighbors. He’s an organizer of the Vulcan Tenants Union, which formed after the property, owned by politically connected developer Madison Park Financial, hit the market last year for $16,250,000. Now, the union, representing approximately 100 tenants, is working with attorneys and a private investigator to acquire rent-control protections. They say dozens of homes and workspaces are on the line.\u003c/p>\n\u003cfigure id=\"attachment_13850955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg\" alt=\"Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Whip_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek in a studio at the Vulcan artist complex in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At a time of skyhigh housing costs and intense competition for performing arts-appropriate space in Oakland, the tenants union hopes to preserve a longtime live-work community for artists and craftspeople dependent on its relative affordability, high ceilings and communal ambiance. Sale to a commercial investor, they say, means near-certain displacement, and they point to Madison Park’s own marketing materials as proof.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Madison Park’s offering memorandum for investors, acquired by KQED, advertises the Vulcan property as “Rent Control Exempt: A rare opportunity in Oakland.” The pitch goes on to explain that, by increasing rent 15 percent and passing more utilities costs on to tenants, a buyer could nearly double the Vulcan’s current gross profit annually.\u003c/p>\n\u003cp>“That’s part of what brokers do,” said Simon Chen, Madison Park’s chief operating officer. “I don’t think you’ll find an offering memo that doesn’t have that kind of sales approach.”\u003c/p>\n\u003cp>The tenants also worry they’ll absorb the cost of necessary repairs. Chen said Madison Park has invested in life-safety improvements, including fire sprinklers, but conceded that the place needs work. “It was converted in 1987, and even brand new buildings from 1987 have been renovated,” he said.\u003c/p>\n\u003cp>At $16.2 million, the Vulcan isn’t for a buyer who wants to keep it as it is. The push for rent control, Pulkrabek explained, is about effectively lowering the sale price in order to attract a nonprofit developer—a buyer motivated by stewardship instead of speculation. To that end, live-work advocacy organization Safer DIY Spaces helped the tenants retain attorneys to challenge the property’s rent control exemption before the city’s Rent Adjustment Program board.\u003c/p>\n\u003cp>In Oakland, new construction or residential conversions completed after 1983 are generally exempt from rent control protections. Though the Vulcan’s live-work conversion occurred in 1987, argued the tenants’ attorney, Leah Hess, the exemption is invalid because people were actually living there previously. The rent board will consider the 27 petitions in April.\u003c/p>\n\u003cp>“A negative ruling will put people out of their homes,” she said.\u003c/p>\n\u003cfigure id=\"attachment_13850954\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850954\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg\" alt=\"Outside at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Mural_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Chen, the 1987 certificates of occupancy settle the matter. An earlier group of Vulcan tenants unsuccessfully petitioned the rent board on similar grounds in 2005, he said, and an appeals court upheld the denial. According to Hess, this time is different. “The thrust of the petitions back then was a lack of certificates of occupancy,” she said. “We’re saying the rent control exemption was issued through mistake or fraud.”\u003c/p>\n\u003cp>Lia Walker moved into the Vulcan in 2006, and in 2011 the photographer started working as on-site manager for Madison Park. The company is owned and operated by John Protopappas, who’s served as a campaign fundraiser for Oakland Mayor Libby Schaaf, and it has overseen several live-work conversions and new market-rate construction projects in the city. The company also managed an artists’ live-work complex at 1919 Market St. before officials deemed it uninhabitable, resulting in the displacement of dozens.\u003c/p>\n\u003cp>For years, Walker said, Madison Park and the Vulcan tenants got along well, but relations worsened as the real estate market improved. The rent started increasing, sometimes dramatically; Madison Park hiked the cost of her darkroom, housed in a separate workspace, by 55 percent, she said. After clashing with a new supervisor, Walker was fired in 2014. “We didn’t share a philosophy or sense of fairness anymore,” she said.\u003c/p>\n\u003cp>Drea Lusion, who lives at the Vulcan in a unit with six people, said Madison Park’s decision last year to ban the “free zone,” a hallway area where tenants left art supplies and household goods for communal sharing, also helped inspire the tenants to organize. It was around the time of 7- to 10-percent rent increases for many units, she said. Prospective buyers were regularly touring the property; Madison Park called the free pile a fire hazard. “That was galvanizing,” she said. “Like, what will they take next?”\u003c/p>\n\u003cfigure id=\"attachment_13850952\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850952\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg\" alt=\"A tenants' shrine to the "Free Zone" at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.Freezone.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tenants’ shrine to the “Free Zone” at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, there is no sale pending for the Vulcan. But it seems clear that, at $16.2 million, the property is out of reach to anyone but a commercial investor. Last year, the Community Arts Stabilization Trust, which develops property for arts uses, partnered with affordable housing developer East Bay Asian Local Development Corporation to explore purchasing the property, but EBALDC said in a statement that they “did not have the resources.”\u003c/p>\n\u003cp>Kelley Kahn, Oakland’s policy director for art spaces, helped bring EBALDC and CAST to the table with Madison Park, and she said the real estate company has been cooperative and open to considering nonprofit buyers. As an industrial live-work space, though, Kahn said the project doesn’t align neatly with the traditional financing models for affordable housing.\u003c/p>\n\u003cp>“The project requires identifying both innovative funding sources and creative development partners with expertise in preserving arts and culture spaces—ideally with a pathway for the tenants themselves to become owners,” she said. “This work remains ongoing.”\u003c/p>\n\u003cfigure id=\"attachment_13850956\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850956\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg\" alt=\"Andrew Pulkrabek and TKTKTK in the courtyard at the Vulcan in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/Vulcan.sitting.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Andrew Pulkrabek and Drea Lusion in a courtyard at the Vulcan in East Oakland. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan of Safer DIY Spaces, the organization funding the Vulcan’s petition effort, said overturning the rent-control exemption would set a significant precedent. Other multiunit buildings formalized as live-work after 1983 were previously used residentially in the common tradition of artists living in warehouses, and the rent board could open the door for them to seek rent control protections. “It’s going to have a ripple effect,” he said.\u003c/p>\n\u003cp>However, Keenan said, Safer DIY Spaces can’t afford to underwrite the petitions for much longer, so the Vulcan Tenants Union recently launched a $50,000 fundraiser. The figure covers the work of two attorneys, two paralegals and a private investigator, according to Pulkrabek. They have anecdotal evidence of residential use at the Vulcan before 1987, but more research will bolster their case.\u003c/p>\n\u003cp>Lusion and Pulkrabek walked through the maze-like hallways of the Vulcan, pointing out murals by friends, and a plant-laden courtyard. Behind one building was a small park lined with broken pianos. The tenants once tended to atomize along subcultural lines, they explained, the circus artists mingling little with, say, the musicians—until the tenants union. “If anything, this has brought us together,” Lusion said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Added Pulkrabek, “It’s reminded us of what we’re trying to preserve.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tree Thomas Shows His Softer Side",
"headTitle": "Tree Thomas Shows His Softer Side | 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\">T\u003c/span>ree Thomas has always been a shapeshifter. He grew up in East Oakland, on Peach Street. After graduating college in Portland, he played pro basketball for two years in the Mediterranean island country of Malta. He came home, retired from sports, and started working with the Calculated Clothing brand and collaborating with Louisiana rapper Kevin Gates.\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>But even then, I was a little surprised to hear about Tree’s latest incarnation as an R&B singer. The kid from way out on 96th Ave., the pro baller, the rapper on his grind—he’s just released a melodic love-laced album titled \u003cem>B4ULUVME\u003c/em>.\u003c/p>\n\u003cp>So, ya’ll know, I had to ask: \u003cem>who hurt you?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13850864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-800x450.jpg\" alt=\"Tree Thomas.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tree Thomas. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>irst, though, you’ve got to understand Tree’s approach to love: it’s a serendipitous action shown through his heart’s desire to see some good in the world. Even if it’s done in an unusual way. At least that’s what I gathered from how he found his closest companion, a dog named Chef.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was a homeless guy dragging him and kicking him up and down the street at a Warriors parade,” Tree told me, as he held a leash attached to Chef’s collar. He said that’s when he and a friend approached the police, asking if the boys in blue were going to do something about this case of animal cruelty. “They told us no, shrugged their shoulders. So we did something,” said Tree.\u003c/p>\n\u003cp>His friend grabbed the abusive owner. Tree grabbed the dog. The abusive owner tried to push back, but in the end, Tree and his friend won out.\u003c/p>\n\u003cp>“Whoa, that’s a bit aggressive,” I said. Tree agreed, but said that seeing a 4-month-old puppy being beaten was something he couldn’t take.\u003c/p>\n\u003cp>“I saw that abuse, I immediately had to step in,” said Tree. “I didn’t even want a dog at the time. It just happened.”\u003c/p>\n\u003cp>And now the duo is inseparable.\u003c/p>\n\u003cp>Tree said that despite the dog’s history, and the preconceived notion about his breed, his pit bull Chef is a big lover; it just needed to be in the right environment to show it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vuYTzysAeis\u003c/p>\n\u003cp>Under Chef’s paws and Tree’s feet, on the corner where we met, sat a spray-painted stencil image of the words “Lakeshore by Tree Thomas.” It’s the remnants of a campaign from last summer, when the artist dropped a song highlighting Oakland’s lakeside strip. The track is like much of Tree’s work: lyrical, smooth, about Oakland, and something you’d kind of expect from him, given his track record.\u003c/p>\n\u003cp>His track record? Well, that’s where you’ll find songs with artists like Kevin Gates, Mozzy, Prezi, Mistah F.A.B. and Kevin Allen. He even has a track with NBA star Dame Lillard. (At 6’3″, Lillard is probably the only artist that’s worked with Thomas, 6’8″, who doesn’t have to change the height of the mic when they switch places in the sound booth.)\u003c/p>\n\u003cp>All of the aforementioned are rap tracks. There’s some harmonizing, a bit of singing. But nothing like this new \u003cem>B4ULUVME\u003c/em> project.\u003c/p>\n\u003cfigure id=\"attachment_13850863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-800x535.jpg\" alt=\"Tree Thomas in Oakland with his dog Chef.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tree Thomas in Oakland with his dog Chef. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, when I heard Tree singing lyrics like “I wasn’t even lonely, those feelings wasn’t hungry,” I had to spin the track back like a DJ in the club. Is… Is he singing? The whole time? What’s going on? \u003cem>Tree, are you an R&B artist now?\u003c/em>\u003c/p>\n\u003cp>Without flinching, Tree responded, yeah. “I’ve been getting great response from it and I think that’s the main direction I’mma go from now,” he said, sitting in front of Café Lakeview, on Lakeshore near Embarcadero.\u003c/p>\n\u003cp>I sat across the coffee table, damn near interrogating him at this point: So you’re an R&B singer now. How’d you get here? \u003cem>Who hurt you?\u003c/em>\u003c/p>\n\u003cp>“There was a relationship, I just got out of it,” said Tree, as Chef sat at his feet. “Like, a long relationship actually, and it has inspired a lot of the music on this project and my previous project.”\u003c/p>\n\u003cp>But the move toward R&B also comes from Tree simply wanting to push himself further in his craft. His father and sister are both R&B singers, he grew up in a church, and he’s taking vocal lessons to develop his singing further.\u003c/p>\n\u003cp>He may jump from basketball to fashion to rapping to singing, but he always seems to do it 100 percent.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sx2c4qGMXOA\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>udging from the video for the album’s first single, “YUCALLME” (why you call me?), he certainly has the R&B look down, for sure. Shirt open. Staring at the camera. I watched it and immediately \u003ca href=\"https://www.youtube.com/watch?v=5ZARV7rJy-4\" target=\"_blank\" rel=\"noopener\">thought of Jodeci\u003c/a>.\u003c/p>\n\u003cp>But unlike the majority of ’90s R&B that I grew up on, “YUCALLME” isn’t about being destroyed by love lost. Instead, Tree says the uptempo track is like: Man, I moved past this relationship, I’ve got my stuff together and bossed up. So, why are you calling me?\u003c/p>\n\u003cp>“I kind of switch the emotion, where you’re not just feeling the sadness,” said Tree. “You’re kind of uplifted, you’re kind of like: why’d you call me?”\u003c/p>\n\u003cp>Tree says his aim was to pen a jam that’s relatable. After all, everyone has experienced some sort of heartbreak. And everyone knows that feeling of picking himself or herself back up and getting back out there. Myself included.\u003c/p>\n\u003cp>I just didn’t have the talent to write an R&B song about it.\u003c/p>\n\u003cp>“I want to be able to touch as many people as I can with my music,” he explains. “That’s why I want to be able to touch as many genres as I can with my music: rapping, singing, and I have some pop records coming.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Even after doing so much already, Tree’s a growing artist, using different angles to reach different people in different positions. He understands that he can’t save every puppy in an abusive relationship, but maybe—just maybe, if he tells the story of bossing up and overcoming hurt—he’ll be able to help people move away from fear of abuse, and toward a healthier environment of showing love.\u003c/p>\n\n",
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"excerpt": " The kid from way out on 96th Ave., the pro baller, the rapper on his grind—he's just released a melodic love-laced album titled 'B4ULUVME.'",
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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\">T\u003c/span>ree Thomas has always been a shapeshifter. He grew up in East Oakland, on Peach Street. After graduating college in Portland, he played pro basketball for two years in the Mediterranean island country of Malta. He came home, retired from sports, and started working with the Calculated Clothing brand and collaborating with Louisiana rapper Kevin Gates.\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>But even then, I was a little surprised to hear about Tree’s latest incarnation as an R&B singer. The kid from way out on 96th Ave., the pro baller, the rapper on his grind—he’s just released a melodic love-laced album titled \u003cem>B4ULUVME\u003c/em>.\u003c/p>\n\u003cp>So, ya’ll know, I had to ask: \u003cem>who hurt you?\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13850864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-800x450.jpg\" alt=\"Tree Thomas.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/TreeThomas.MAIN_.1-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tree Thomas. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">F\u003c/span>irst, though, you’ve got to understand Tree’s approach to love: it’s a serendipitous action shown through his heart’s desire to see some good in the world. Even if it’s done in an unusual way. At least that’s what I gathered from how he found his closest companion, a dog named Chef.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was a homeless guy dragging him and kicking him up and down the street at a Warriors parade,” Tree told me, as he held a leash attached to Chef’s collar. He said that’s when he and a friend approached the police, asking if the boys in blue were going to do something about this case of animal cruelty. “They told us no, shrugged their shoulders. So we did something,” said Tree.\u003c/p>\n\u003cp>His friend grabbed the abusive owner. Tree grabbed the dog. The abusive owner tried to push back, but in the end, Tree and his friend won out.\u003c/p>\n\u003cp>“Whoa, that’s a bit aggressive,” I said. Tree agreed, but said that seeing a 4-month-old puppy being beaten was something he couldn’t take.\u003c/p>\n\u003cp>“I saw that abuse, I immediately had to step in,” said Tree. “I didn’t even want a dog at the time. It just happened.”\u003c/p>\n\u003cp>And now the duo is inseparable.\u003c/p>\n\u003cp>Tree said that despite the dog’s history, and the preconceived notion about his breed, his pit bull Chef is a big lover; it just needed to be in the right environment to show it.\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/vuYTzysAeis'\n title='//www.youtube.com/embed/vuYTzysAeis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Under Chef’s paws and Tree’s feet, on the corner where we met, sat a spray-painted stencil image of the words “Lakeshore by Tree Thomas.” It’s the remnants of a campaign from last summer, when the artist dropped a song highlighting Oakland’s lakeside strip. The track is like much of Tree’s work: lyrical, smooth, about Oakland, and something you’d kind of expect from him, given his track record.\u003c/p>\n\u003cp>His track record? Well, that’s where you’ll find songs with artists like Kevin Gates, Mozzy, Prezi, Mistah F.A.B. and Kevin Allen. He even has a track with NBA star Dame Lillard. (At 6’3″, Lillard is probably the only artist that’s worked with Thomas, 6’8″, who doesn’t have to change the height of the mic when they switch places in the sound booth.)\u003c/p>\n\u003cp>All of the aforementioned are rap tracks. There’s some harmonizing, a bit of singing. But nothing like this new \u003cem>B4ULUVME\u003c/em> project.\u003c/p>\n\u003cfigure id=\"attachment_13850863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-800x535.jpg\" alt=\"Tree Thomas in Oakland with his dog Chef.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/LRG-DSC2803.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tree Thomas in Oakland with his dog Chef. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So, when I heard Tree singing lyrics like “I wasn’t even lonely, those feelings wasn’t hungry,” I had to spin the track back like a DJ in the club. Is… Is he singing? The whole time? What’s going on? \u003cem>Tree, are you an R&B artist now?\u003c/em>\u003c/p>\n\u003cp>Without flinching, Tree responded, yeah. “I’ve been getting great response from it and I think that’s the main direction I’mma go from now,” he said, sitting in front of Café Lakeview, on Lakeshore near Embarcadero.\u003c/p>\n\u003cp>I sat across the coffee table, damn near interrogating him at this point: So you’re an R&B singer now. How’d you get here? \u003cem>Who hurt you?\u003c/em>\u003c/p>\n\u003cp>“There was a relationship, I just got out of it,” said Tree, as Chef sat at his feet. “Like, a long relationship actually, and it has inspired a lot of the music on this project and my previous project.”\u003c/p>\n\u003cp>But the move toward R&B also comes from Tree simply wanting to push himself further in his craft. His father and sister are both R&B singers, he grew up in a church, and he’s taking vocal lessons to develop his singing further.\u003c/p>\n\u003cp>He may jump from basketball to fashion to rapping to singing, but he always seems to do it 100 percent.\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/Sx2c4qGMXOA'\n title='//www.youtube.com/embed/Sx2c4qGMXOA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\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\">J\u003c/span>udging from the video for the album’s first single, “YUCALLME” (why you call me?), he certainly has the R&B look down, for sure. Shirt open. Staring at the camera. I watched it and immediately \u003ca href=\"https://www.youtube.com/watch?v=5ZARV7rJy-4\" target=\"_blank\" rel=\"noopener\">thought of Jodeci\u003c/a>.\u003c/p>\n\u003cp>But unlike the majority of ’90s R&B that I grew up on, “YUCALLME” isn’t about being destroyed by love lost. Instead, Tree says the uptempo track is like: Man, I moved past this relationship, I’ve got my stuff together and bossed up. So, why are you calling me?\u003c/p>\n\u003cp>“I kind of switch the emotion, where you’re not just feeling the sadness,” said Tree. “You’re kind of uplifted, you’re kind of like: why’d you call me?”\u003c/p>\n\u003cp>Tree says his aim was to pen a jam that’s relatable. After all, everyone has experienced some sort of heartbreak. And everyone knows that feeling of picking himself or herself back up and getting back out there. 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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.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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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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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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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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"meta": {
"site": "radio",
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},
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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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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"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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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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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.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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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",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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