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"title": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/692823424/693851818\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" 0=\"title="NPR\" 1=\"embedded\" 2=\"audio\" 3=\"player"></iframe\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As the nation marks one year since the Parkland school shooting, many Americans are thinking about how the conversation about kids and gun violence has shifted.\u003c/p>\n\u003cp>In the weeks and months after a gunman killed 17 people at Marjory Stoneman Douglas High School in Parkland, Fla., students took to the streets and the airwaves to call for fundamental change in America’s gun laws. Stoneman Douglas students and students nationwide rallied in an effort to prevent that kind of massacre from happening again.\u003c/p>\n\u003cp>[contextly_sidebar id=”WTfQuekzzxIPqsBrz9uxOGDjmIff8WE4″]\u003c/p>\n\u003cp>And so far in 2019, according to an analysis by Pacific Standard, \u003ca href=\"https://psmag.com/social-justice/the-116th-congress-is-refocused-on-gun-control-in-the-wake-of-parkland\">the 116th Congress has already introduced 33 gun control bills\u003c/a>, a number not seen since the aftermath of the Sandy Hook shooting.\u003c/p>\n\u003cp>But for some young people, a year’s attention on events like Parkland hasn’t turned into the attention they’re asking for: a spotlight on the everyday gun violence they experience in their neighborhoods.\u003c/p>\n\u003cp>“We might not see all of our friends die at the same time, but we’re definitely seeing people fade away to the same fate, just on multiple occasions,” says Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif. “You’re like, I just hope I make the right decisions today.”\u003c/p>\n\u003cfigure id=\"attachment_13850836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg\" alt=\"Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“Distorted our perception of reality”\u003c/strong>\u003c/p>\n\u003cp>Patten and other students from Castlemont High have conflicted feelings at the first anniversary of the Parkland shooting. On one hand, they say, they are grateful that America is paying more attention to gun violence. On the other, they know that the gun violence that affects them, sometimes daily, gets much less attention than mass shootings that happen at places like Parkland.\u003c/p>\n\u003cp>Oakland had 75 homicides in 2017, with \u003ca href=\"https://issuu.com/youthalive/docs/ya_annualreport2018.print\">46 of those in East Oakland\u003c/a>, where Patten and classmates Ajahnay Cooper, 17, and Armon Hurst, 18, attend school. That’s about one homicide per week in the youths’ neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13850834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg\" alt=\"Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year's Eve, she and her family were forced out of their home for the night.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper, Hurst and Patten all have vivid memories of the multiple times gun violence has touched their lives. All three students are members of an Oakland-based violence intervention program called Youth ALIVE! and they remember when one of their program counselors was shot just outside the high school. Hurst can recall being held up at gunpoint at an East Oakland McDonald’s and the multiple times he had to run from bullets in his neighborhood. Cooper can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she says that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. She sometimes carries a knife or pepper spray in her neighborhood to feel safer.\u003c/p>\n\u003cfigure id=\"attachment_13850839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg\" alt=\"Memorials for victims of gun-related homicide in Oakland.\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1200x398.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1920x637.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorials for victims of gun-related homicide in Oakland. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually, like, numbing,” Hurst says. “You don’t even feel the pain no more. You know something might go on today. When people really ask me if I feel safe at home or at school, it’s neither.”\u003c/p>\n\u003cp>They say they’re never really sure which classmate may have brought a gun to school. They say they aren’t sure when they may have to run from gunfire. And they say they don’t know when a small high school dispute might turn into violence.\u003c/p>\n\u003cp>The students say the kind of day-to-day gun violence they experience is under-covered in the press. And they have a point. A mass shooting anywhere in the country usually garners more national media attention than a single shooting or homicide that happens regularly in neighborhoods like East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13850835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_299_slide-c63a8784d4cddd8044950db7c39a277238b76502-800x533.jpg\" alt=\"Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school.\" width=\"800\" height=\"533\" />\u003cfigcaption class=\"wp-caption-text\">Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The higher the shooting’s death toll, the greater the coverage, says Joel A. Capellan at Rowan University, who studies mass shootings. “No. 1 is how lethal the shooting is,” Capellan says. “That’s the most predictive factor when it comes to not only which shootings get presented by the news but also how much they are presented.”\u003c/p>\n\u003cp>This already makes the everyday violence in places like East Oakland less likely to get widespread attention. And then there are other elements that seem to determine coverage, he says.\u003c/p>\n\u003cp>“When the victims are younger … particularly white children and white teenagers, that seems to be a pretty big factor,” Capellan says. “When they’re black and poor, they get no attention, or very little attention.”\u003c/p>\n\u003cp>The way mass shootings are covered has “fundamentally distorted our perception of reality,” he says. “The public generally thinks that there are more mass shootings than there actually are in real life.”\u003c/p>\n\u003cfigure id=\"attachment_13850840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850840\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg\" alt=\"Crosses erected at a local church for every homicide victim in Oakland, Calif.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Crosses erected at a local church for every homicide victim in Oakland, Calif. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“It’s our time to talk”\u003c/strong>\u003c/p>\n\u003cp>The vast majority of gun deaths — \u003ca href=\"https://www.bradycampaign.org/sites/default/files/Brady-Guns-Suicide-Report-2016.pdf\">more than two-thirds\u003c/a> — in America every year are suicides. Mass shootings account for about \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/02/01/170872321/study-most-gun-deaths-happen-outside-of-mass-shootings\">1 percent of all gun-related deaths \u003c/a>in the U.S. every year. Even as the rate of mass shootings has increased over the past several years, they are a small fraction of gun deaths in America.\u003c/p>\n\u003cp>“We can’t solve a problem when we don’t know what’s happening,” says Pamela Mejia, head of research at the Berkeley Media Studies Group, which examines mass media and its connection to public health. “If the coverage is overwhelmingly driven by very high profile but fundamentally fairly rare issues … what people, voters, policymakers … are learning about and having a sense of as the norm is only those very isolated incidences. And then the solutions that they’re thinking about are really solutions that only address those specific problems.”\u003c/p>\n\u003cfigure id=\"attachment_13850837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg\" alt=\"A memorial for a victim of gun-related homicide outside Castlemont High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">A memorial for a victim of gun-related homicide outside Castlemont High School. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurst, Cooper and Patten, the students at Castlemont High, hope that the Parkland shooting anniversary is a moment for all Americans to think about the ways gun violence affects people in communities like theirs and to look farther than Parkland to see the reality of gun violence all over America.\u003c/p>\n\u003cp>They also have a few words for the students at Parkland, who have galvanized the nation over the past year.\u003c/p>\n\u003cp>“I have to respect them for their leadership,” Hurst says. “I would just say that you were blessed with all that media attention.”\u003c/p>\n\u003cp>Patten echoes the sentiment. “I would tell them, I’m sorry for what you went through,” he says, “but it’s our time to talk.”\u003c/p>\n\u003chr />\n\u003cp>\u003cem>Anjuli Sastry and Jordana Hochman produced and edited the broadcast version of this \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510317/its-been-a-minute-with-sam-sanders\">It’s Been A Minute\u003c/a>\u003cem> episode. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n",
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"excerpt": "In East Oakland, Calif., where gun violence is chronic, some are grateful that after Parkland, America pays more attention to the issue. But as an East Oakland youth says, \"It's our time to talk.\"",
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"title": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories | KQED",
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"headline": "Far From Parkland Spotlight, Teens In East Oakland Want To Tell Their Stories",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr />\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/692823424/693851818\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" 0=\"title="NPR\" 1=\"embedded\" 2=\"audio\" 3=\"player"></iframe\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>As the nation marks one year since the Parkland school shooting, many Americans are thinking about how the conversation about kids and gun violence has shifted.\u003c/p>\n\u003cp>In the weeks and months after a gunman killed 17 people at Marjory Stoneman Douglas High School in Parkland, Fla., students took to the streets and the airwaves to call for fundamental change in America’s gun laws. Stoneman Douglas students and students nationwide rallied in an effort to prevent that kind of massacre from happening again.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And so far in 2019, according to an analysis by Pacific Standard, \u003ca href=\"https://psmag.com/social-justice/the-116th-congress-is-refocused-on-gun-control-in-the-wake-of-parkland\">the 116th Congress has already introduced 33 gun control bills\u003c/a>, a number not seen since the aftermath of the Sandy Hook shooting.\u003c/p>\n\u003cp>But for some young people, a year’s attention on events like Parkland hasn’t turned into the attention they’re asking for: a spotlight on the everyday gun violence they experience in their neighborhoods.\u003c/p>\n\u003cp>“We might not see all of our friends die at the same time, but we’re definitely seeing people fade away to the same fate, just on multiple occasions,” says Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif. “You’re like, I just hope I make the right decisions today.”\u003c/p>\n\u003cfigure id=\"attachment_13850836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg\" alt=\"Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_072_slide-09948e29876a5df6cc29855ecddbaa0e0b18b5b2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorial crosses for homicide victims are erected at St. Columba Catholic Church in Oakland, Calif. In East Oakland, where gun violence is chronic, some are grateful that America is paying more attention to it — but they would also like a focus on neighborhoods like theirs. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“Distorted our perception of reality”\u003c/strong>\u003c/p>\n\u003cp>Patten and other students from Castlemont High have conflicted feelings at the first anniversary of the Parkland shooting. On one hand, they say, they are grateful that America is paying more attention to gun violence. On the other, they know that the gun violence that affects them, sometimes daily, gets much less attention than mass shootings that happen at places like Parkland.\u003c/p>\n\u003cp>Oakland had 75 homicides in 2017, with \u003ca href=\"https://issuu.com/youthalive/docs/ya_annualreport2018.print\">46 of those in East Oakland\u003c/a>, where Patten and classmates Ajahnay Cooper, 17, and Armon Hurst, 18, attend school. That’s about one homicide per week in the youths’ neighborhood.\u003c/p>\n\u003cfigure id=\"attachment_13850834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg\" alt=\"Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year's Eve, she and her family were forced out of their home for the night.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_351_slide-3780cf5f8096b0e74940f268ca7ff6b00825c1ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Ajahnay Cooper, 17, can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she remembers that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cooper, Hurst and Patten all have vivid memories of the multiple times gun violence has touched their lives. All three students are members of an Oakland-based violence intervention program called Youth ALIVE! and they remember when one of their program counselors was shot just outside the high school. Hurst can recall being held up at gunpoint at an East Oakland McDonald’s and the multiple times he had to run from bullets in his neighborhood. Cooper can point out the corner store near campus she is still afraid to visit after someone she knew was shot there, and she says that the shooting got so bad in the neighborhood on New Year’s Eve, she and her family were forced out of their home for the night. She sometimes carries a knife or pepper spray in her neighborhood to feel safer.\u003c/p>\n\u003cfigure id=\"attachment_13850839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg\" alt=\"Memorials for victims of gun-related homicide in Oakland.\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1020x339.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1200x398.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc-1920x637.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/untitled-1_custom-d3fe293ff7044c6f91df33c29108aab01d0852dc.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Memorials for victims of gun-related homicide in Oakland. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s actually, like, numbing,” Hurst says. “You don’t even feel the pain no more. You know something might go on today. When people really ask me if I feel safe at home or at school, it’s neither.”\u003c/p>\n\u003cp>They say they’re never really sure which classmate may have brought a gun to school. They say they aren’t sure when they may have to run from gunfire. And they say they don’t know when a small high school dispute might turn into violence.\u003c/p>\n\u003cp>The students say the kind of day-to-day gun violence they experience is under-covered in the press. And they have a point. A mass shooting anywhere in the country usually garners more national media attention than a single shooting or homicide that happens regularly in neighborhoods like East Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13850835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_299_slide-c63a8784d4cddd8044950db7c39a277238b76502-800x533.jpg\" alt=\"Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school.\" width=\"800\" height=\"533\" />\u003cfigcaption class=\"wp-caption-text\">Gabriel Patten, 18, a student at Castlemont High School in East Oakland, Calif., is a member of an Oakland-based violence intervention program called Youth ALIVE! He remembers when one of the program counselors was shot just outside the school. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The higher the shooting’s death toll, the greater the coverage, says Joel A. Capellan at Rowan University, who studies mass shootings. “No. 1 is how lethal the shooting is,” Capellan says. “That’s the most predictive factor when it comes to not only which shootings get presented by the news but also how much they are presented.”\u003c/p>\n\u003cp>This already makes the everyday violence in places like East Oakland less likely to get widespread attention. And then there are other elements that seem to determine coverage, he says.\u003c/p>\n\u003cp>“When the victims are younger … particularly white children and white teenagers, that seems to be a pretty big factor,” Capellan says. “When they’re black and poor, they get no attention, or very little attention.”\u003c/p>\n\u003cp>The way mass shootings are covered has “fundamentally distorted our perception of reality,” he says. “The public generally thinks that there are more mass shootings than there actually are in real life.”\u003c/p>\n\u003cfigure id=\"attachment_13850840\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850840\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg\" alt=\"Crosses erected at a local church for every homicide victim in Oakland, Calif.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190209_oakland_jt_113-1eb764aaaa97e227bda3a190202937a139f743c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Crosses erected at a local church for every homicide victim in Oakland, Calif. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“It’s our time to talk”\u003c/strong>\u003c/p>\n\u003cp>The vast majority of gun deaths — \u003ca href=\"https://www.bradycampaign.org/sites/default/files/Brady-Guns-Suicide-Report-2016.pdf\">more than two-thirds\u003c/a> — in America every year are suicides. Mass shootings account for about \u003ca href=\"https://www.npr.org/sections/thetwo-way/2013/02/01/170872321/study-most-gun-deaths-happen-outside-of-mass-shootings\">1 percent of all gun-related deaths \u003c/a>in the U.S. every year. Even as the rate of mass shootings has increased over the past several years, they are a small fraction of gun deaths in America.\u003c/p>\n\u003cp>“We can’t solve a problem when we don’t know what’s happening,” says Pamela Mejia, head of research at the Berkeley Media Studies Group, which examines mass media and its connection to public health. “If the coverage is overwhelmingly driven by very high profile but fundamentally fairly rare issues … what people, voters, policymakers … are learning about and having a sense of as the norm is only those very isolated incidences. And then the solutions that they’re thinking about are really solutions that only address those specific problems.”\u003c/p>\n\u003cfigure id=\"attachment_13850837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg\" alt=\"A memorial for a victim of gun-related homicide outside Castlemont High School.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/20190208_oakland_jt_571_slide-af13a56c3f8af5edd924b6f59be2f9e2f32405dd.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">A memorial for a victim of gun-related homicide outside Castlemont High School. \u003ccite>(James Tensuan for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hurst, Cooper and Patten, the students at Castlemont High, hope that the Parkland shooting anniversary is a moment for all Americans to think about the ways gun violence affects people in communities like theirs and to look farther than Parkland to see the reality of gun violence all over America.\u003c/p>\n\u003cp>They also have a few words for the students at Parkland, who have galvanized the nation over the past year.\u003c/p>\n\u003cp>“I have to respect them for their leadership,” Hurst says. “I would just say that you were blessed with all that media attention.”\u003c/p>\n\u003cp>Patten echoes the sentiment. “I would tell them, I’m sorry for what you went through,” he says, “but it’s our time to talk.”\u003c/p>\n\u003chr />\n\u003cp>\u003cem>Anjuli Sastry and Jordana Hochman produced and edited the broadcast version of this \u003c/em>\u003ca href=\"https://www.npr.org/podcasts/510317/its-been-a-minute-with-sam-sanders\">It’s Been A Minute\u003c/a>\u003cem> episode. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\u003c/div>\u003c/p>",
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"title": "Looking Good is Pricy; FLYGURLZCLUB Helps Oakland Teens Dress the Part",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Last September, Oakland’s \u003c/span>\u003ca href=\"https://www.e14gallery.com/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">E14 Gallery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> buzzed with the back-to-school frenzy that surrounds Labor Day weekend. The unlikely venue, located on a rustic, brick-lined street in Old Oakland, had its doors wide open, giving passersby a view of the dozens of enthusiastic high-school girls sorting through clothes amid festive decorations and upbeat music. [contextly_sidebar id=”gHjg4dZF5VlopFFyaZDyyfmsnfziUGvE”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The group behind the event was \u003c/span>\u003ca href=\"https://www.flygurlzclub.org/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">FLYGURLZCLUB\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a platform created in 2017 by Vallejo-native Stephanie Torres with the intention of providing under-resourced girls and young women with opportunities to empower themselves through fashion. Their event last Labor Day was the grassroots organization’s official launch. They introduced the platform with a back-to-school donation drive that invited female students from Fremont High School and United for Success to stock up on donated apparel, pamper themselves for free and, most importantly, have fun. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13850724\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850724\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ID7B5600-800x1200.jpg\" alt=\"Nail artist Nakira Glasgow offered free manicures to high school girls at FLYGURLZCLUB's back-to-school event.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5600-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5600-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nail artist Nakira Glasgow offered free manicures to high school girls at FLYGURLZCLUB’s back-to-school event. \u003ccite>(Amina El Kabbany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The wholly volunteer- and women-run clothing drive included DJ sets from local artists \u003c/span>\u003ca href=\"https://www.instagram.com/arumi.cloud/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Arumi\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.instagram.com/genevieve.diaz/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Genevieve Diaz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, plus nail techs and makeup artists giving girls sparkly manicures and bejeweled makeovers. FLYGURLZCLUB, which is throwing a \u003ca href=\"https://www.flygurlzclub.org/events\" target=\"_blank\" rel=\"noopener\">party and fundraiser\u003c/a> for their next drive at Taylor/Monroe on Feb. 16, offers a space for young women to share their skills with one another and lend a mentor-like hand to the teen participants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For founder Torres, the idea for FLYGURLZCLUB came while cleaning out her closet. She was suddenly struck with the idea that she didn’t necessarily need to donate her clothes to Goodwill or sell them to a consignment shop. Rather, she could use her old clothes to give back directly to her own community—a desire that stems from Torres’ own background.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I experienced firsthand what it was like never being able to buy nice clothes when I was younger,” says Torres, who works as a PR and social media coordinator by day. “I’ve always shopped for cheap clothes—my grandma taught me how to budget—so I knew girls in middle school and high school would appreciate it.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Considering the immense pressure that young girls feel to look or dress a certain way, especially in our age of ubiquitous social media, Torres hopes FLYGURLZCLUB can help level the playing field. In that way, the clothing drive has potential to foster real-life connections and build self-esteem in a generation of girls under more pressure to have a social media presence than ever before. It’s not just about looks, either: for millennials and Gen Z-ers, how one presents on social media can make one more employable or marketable as an artist, and maintaining that polished image is expensive. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13850725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850725\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ID7B5541-800x533.jpg\" alt=\"Stylists, nail techs and DJs other creatives volunteered for FLYGURLZCLUB's clothing giveaway for under-resourced girls.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stylists, nail techs and DJs other creatives volunteered for FLYGURLZCLUB’s clothing giveaway for under-resourced girls. \u003ccite>(Amina El Kabbany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Torres recounted how, after securing E14 as the venue space, she was shocked at the outpouring of support she received from other femmes online and in person. Local makeup artists, nail techs, DJs and stylists volunteered their efforts, building a creative hub of women supporting other women.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think that’s the power of social media and the beauty of it. At times it can be a superficial thing, but there are people who want to connect,” Torres says. “The goal was just to showcase that women can work together—especially here in the Bay Area. Women of different backgrounds and different industries can produce a project like this with the common goal of helping younger girls.”[contextly_sidebar id=”TM4zNxD4uF3LrqZnmpgbeELZjNTqrV2p”]\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the drive itself, that willingness for connection felt clear. Volunteers were open and friendly, helping high school students sort through the piles and piles of ripped jeans, fluffy coats and neon tops. Stylists were open and friendly, giving the girls tips on which belt went better with which top, and helped girls feel comfortable in clothes they otherwise wouldn’t have known how to wear. Resources and warmth were in abundance, and every person in attendance seemed dedicated to encouraging an uplifting and inclusive environment.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13850726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850726\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ID7B5333-800x533.jpg\" alt=\"FLYGURLZCLUB's mission is to help high school girls from low-income backgrounds look and feel confident. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FLYGURLZCLUB’s mission is to help high school girls from low-income backgrounds look and feel confident. \u003ccite>(Amina El Kabbany )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Torres recounts a particularly poignant anecdote from the event: “A student came up to the director of E14 Gallery and told her it was her birthday. She was like, ‘You don’t even know. This is the best day of my life.’ The director told me she wanted to tear up because she saw how this girl felt, and how much of an impact FLYGURLZCLUB made.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year, FLYGURLZCLUB is planning on creating infrastructure, recruiting volunteers and putting on more events for young students to feel welcomed and inspired. Their “Galantine” Fundraiser Gala, a dedication to celebrating self-love and supporting their upcoming projects, is right around the corner. And this Labor Day, Torres intends to throw another back-to-school drive—this time including young boys and partnering with barber shops to give them free haircuts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Boys deserve it too,” Torres says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">2019 holds a lot of promise for FLYGURLZCLUB. And Torres and her network of femme power seem ready to take it on.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re super excited,” she said. “It’s all happening so fast.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>FLYGURLZCLUB’s Galantine party and fundraiser gala takes place on Feb. 16 at Taylor/Monroe Salon. Details \u003ca href=\"https://www.flygurlzclub.org/events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Last September, Oakland’s \u003c/span>\u003ca href=\"https://www.e14gallery.com/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">E14 Gallery\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> buzzed with the back-to-school frenzy that surrounds Labor Day weekend. The unlikely venue, located on a rustic, brick-lined street in Old Oakland, had its doors wide open, giving passersby a view of the dozens of enthusiastic high-school girls sorting through clothes amid festive decorations and upbeat music. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The group behind the event was \u003c/span>\u003ca href=\"https://www.flygurlzclub.org/\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">FLYGURLZCLUB\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, a platform created in 2017 by Vallejo-native Stephanie Torres with the intention of providing under-resourced girls and young women with opportunities to empower themselves through fashion. Their event last Labor Day was the grassroots organization’s official launch. They introduced the platform with a back-to-school donation drive that invited female students from Fremont High School and United for Success to stock up on donated apparel, pamper themselves for free and, most importantly, have fun. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13850724\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850724\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ID7B5600-800x1200.jpg\" alt=\"Nail artist Nakira Glasgow offered free manicures to high school girls at FLYGURLZCLUB's back-to-school event.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5600-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5600-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nail artist Nakira Glasgow offered free manicures to high school girls at FLYGURLZCLUB’s back-to-school event. \u003ccite>(Amina El Kabbany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The wholly volunteer- and women-run clothing drive included DJ sets from local artists \u003c/span>\u003ca href=\"https://www.instagram.com/arumi.cloud/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Arumi\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.instagram.com/genevieve.diaz/?hl=en\" target=\"_blank\" rel=\"noopener\">\u003cspan style=\"font-weight: 400\">Genevieve Diaz\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, plus nail techs and makeup artists giving girls sparkly manicures and bejeweled makeovers. FLYGURLZCLUB, which is throwing a \u003ca href=\"https://www.flygurlzclub.org/events\" target=\"_blank\" rel=\"noopener\">party and fundraiser\u003c/a> for their next drive at Taylor/Monroe on Feb. 16, offers a space for young women to share their skills with one another and lend a mentor-like hand to the teen participants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For founder Torres, the idea for FLYGURLZCLUB came while cleaning out her closet. She was suddenly struck with the idea that she didn’t necessarily need to donate her clothes to Goodwill or sell them to a consignment shop. Rather, she could use her old clothes to give back directly to her own community—a desire that stems from Torres’ own background.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I experienced firsthand what it was like never being able to buy nice clothes when I was younger,” says Torres, who works as a PR and social media coordinator by day. “I’ve always shopped for cheap clothes—my grandma taught me how to budget—so I knew girls in middle school and high school would appreciate it.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Considering the immense pressure that young girls feel to look or dress a certain way, especially in our age of ubiquitous social media, Torres hopes FLYGURLZCLUB can help level the playing field. In that way, the clothing drive has potential to foster real-life connections and build self-esteem in a generation of girls under more pressure to have a social media presence than ever before. It’s not just about looks, either: for millennials and Gen Z-ers, how one presents on social media can make one more employable or marketable as an artist, and maintaining that polished image is expensive. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13850725\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850725\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ID7B5541-800x533.jpg\" alt=\"Stylists, nail techs and DJs other creatives volunteered for FLYGURLZCLUB's clothing giveaway for under-resourced girls.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5541.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stylists, nail techs and DJs other creatives volunteered for FLYGURLZCLUB’s clothing giveaway for under-resourced girls. \u003ccite>(Amina El Kabbany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Torres recounted how, after securing E14 as the venue space, she was shocked at the outpouring of support she received from other femmes online and in person. Local makeup artists, nail techs, DJs and stylists volunteered their efforts, building a creative hub of women supporting other women.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think that’s the power of social media and the beauty of it. At times it can be a superficial thing, but there are people who want to connect,” Torres says. “The goal was just to showcase that women can work together—especially here in the Bay Area. Women of different backgrounds and different industries can produce a project like this with the common goal of helping younger girls.”\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the drive itself, that willingness for connection felt clear. Volunteers were open and friendly, helping high school students sort through the piles and piles of ripped jeans, fluffy coats and neon tops. Stylists were open and friendly, giving the girls tips on which belt went better with which top, and helped girls feel comfortable in clothes they otherwise wouldn’t have known how to wear. Resources and warmth were in abundance, and every person in attendance seemed dedicated to encouraging an uplifting and inclusive environment.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13850726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850726\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/ID7B5333-800x533.jpg\" alt=\"FLYGURLZCLUB's mission is to help high school girls from low-income backgrounds look and feel confident. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/ID7B5333.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FLYGURLZCLUB’s mission is to help high school girls from low-income backgrounds look and feel confident. \u003ccite>(Amina El Kabbany )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Torres recounts a particularly poignant anecdote from the event: “A student came up to the director of E14 Gallery and told her it was her birthday. She was like, ‘You don’t even know. This is the best day of my life.’ The director told me she wanted to tear up because she saw how this girl felt, and how much of an impact FLYGURLZCLUB made.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This year, FLYGURLZCLUB is planning on creating infrastructure, recruiting volunteers and putting on more events for young students to feel welcomed and inspired. Their “Galantine” Fundraiser Gala, a dedication to celebrating self-love and supporting their upcoming projects, is right around the corner. And this Labor Day, Torres intends to throw another back-to-school drive—this time including young boys and partnering with barber shops to give them free haircuts. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Boys deserve it too,” Torres says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">2019 holds a lot of promise for FLYGURLZCLUB. And Torres and her network of femme power seem ready to take it on.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re super excited,” she said. “It’s all happening so fast.”\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>FLYGURLZCLUB’s Galantine party and fundraiser gala takes place on Feb. 16 at Taylor/Monroe Salon. Details \u003ca href=\"https://www.flygurlzclub.org/events\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What’s it like to be a first-generation college graduate surviving in a rapidly gentrifying Oakland, all while trying to navigate job-hunting, foster friendships and deal with the daily struggle of trying to stay put in The Town?\u003c/p>\n\u003cp>With the new web series \u003cem>Uneasy\u003c/em>, local writers and filmmakers Samiat Salami and Vanessa Flores tackle this very question—with an added cultural layer. Salami is Nigerian-American, and Flores is Guatemalan-Mexican-American.\u003c/p>\n\u003cp>“With this series, we wanted to showcase what it’s like to come from post-military Nigeria, and also what is like to be Latinx and not speak Spanish, and how it affects your culture,” Salami tells me during a recent chat at a local coffee shop in downtown Oakland.\u003c/p>\n\u003cp>Some might see in \u003cem>Uneasy\u003c/em> a correlation to \u003cem>Insecure\u003c/em>, but unlike Issa Rae on her hit HBO show, don’t expect Ade (Samiat Salami), and Cat (Vanessa Flores) to be preoccupied with their love lives. The roommates’ biggest worries are housing, finances, and interpersonal discovery. (A closer comparison might be \u003cem>The North Pole\u003c/em>, the 2017 web series that tackled gentrification; both series are written and directed by people of color, and both are shot in familiar settings throughout Oakland.)\u003c/p>\n\u003cfigure id=\"attachment_13850610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg\" alt=\"Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series 'Uneasy.'\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series ‘Uneasy.’ \u003ccite>(Jannah Manansala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Uneasy\u003c/em>‘s two main characters are roommates. Ade is struggling to stay in the apartment with Cat; a recent graduate, she has yet to find a job, and can’t afford to pay rent. She wrestles with her friendship with Cat, and how to develop friendships with other women, and black women specifically—a conflict that Salami says came from real life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Grad school is very white,” Salami explains. After moving the the U.S. from Nigeria, going to school in Florida, and losing part of her identity while attending grad school, “I realized when I graduated that I had no black friends… I would go to the lake, and I would see all these women having a good time, and it felt like something I didn’t get an invitation to.”\u003c/p>\n\u003cp>Meanwhile, Flores had felt “white-washed” because she doesn’t speak Spanish fluently. “It’s rejecting certain things to fit in,” she says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d_dyS4iMD0w&feature=youtu.be\u003c/p>\n\u003cp>Salami and Flores are not roommates in real life. Salami is married and resides in Oakland, and Flores, priced out of Oakland, recently moved to the Sunset in San Francisco. But “getting to know each other [in real life] definitely shaped the show,” Flores says.\u003c/p>\n\u003cp>Also, both Salami and Flores utilized certain situations from their time in grad school for the show. “In academia, especially in a writer’s workshop, you talk about your identity 24-7,” Salami says. For Flores, her early writing was defined by who was teaching her. “I was writing very white male fiction, and anything else that I was trying to write was nonsensical,” Flores says. “I had to assimilate my writing, and I did it, and I was pretty successful writing like a white man.”\u003c/p>\n\u003cp>In \u003cem>Uneasy\u003c/em>, Ade and Cat are up against being perceived as gentrifiers themselves, even though they both struggle financially. “Cat and Ade are each other’s people, but they will never fully know what it is like to be the other,” Salami explains. “This comes from a very real place.”\u003c/p>\n\u003cp>[contextly_sidebar id=”oOMfIFbUUpwTvC4LCU80NDC52yYXPeBD”]\u003c/p>\n\u003cp>For those who noticed the Bay Area soundtrack anchoring the movies \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry To Bother You\u003c/em>, \u003cem>Uneasy\u003c/em> will give a similar vibe. The episodes include music from local artists like Trey Coastal, Mlodic, Honey Gold Jasmine, Qing Qi, Caleborate, and others.\u003c/p>\n\u003cp>For their second season, Salami and Flores aim to find more local women musicians, a challenge they encountered this time around. “When people watch the show, I want it to partner well with the music,” Salami explains.\u003c/p>\n\u003cp>Once Salami and Flores had their writing in motion, the first five episodes were entirely self-funded, with both Salami and Flores taking extra freelance work and maxing out their own credit cards. The remaining episodes (there are 8 total, roughly 10 minutes each) were funded by $10,000 in donations from a \u003ca href=\"https://www.seedandspark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Seed & Spark\u003c/a> campaign.\u003c/p>\n\u003cp>“For Season Two we want make this bigger, involve more writers, have an actual writer’s room,” Flores says. “I would love for the show to stay grounded in Oakland and the experiences of living here,” Salami says. “Women of color have earned the right to be on television, and have our stories not be perfect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Uneasy’ premieres in part on Sunday, Feb. 17, at the New Parkway in Oakland; \u003ca href=\"https://e.sparxo.com/uneasy\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. It premieres in full on YouTube in March. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What’s it like to be a first-generation college graduate surviving in a rapidly gentrifying Oakland, all while trying to navigate job-hunting, foster friendships and deal with the daily struggle of trying to stay put in The Town?\u003c/p>\n\u003cp>With the new web series \u003cem>Uneasy\u003c/em>, local writers and filmmakers Samiat Salami and Vanessa Flores tackle this very question—with an added cultural layer. Salami is Nigerian-American, and Flores is Guatemalan-Mexican-American.\u003c/p>\n\u003cp>“With this series, we wanted to showcase what it’s like to come from post-military Nigeria, and also what is like to be Latinx and not speak Spanish, and how it affects your culture,” Salami tells me during a recent chat at a local coffee shop in downtown Oakland.\u003c/p>\n\u003cp>Some might see in \u003cem>Uneasy\u003c/em> a correlation to \u003cem>Insecure\u003c/em>, but unlike Issa Rae on her hit HBO show, don’t expect Ade (Samiat Salami), and Cat (Vanessa Flores) to be preoccupied with their love lives. The roommates’ biggest worries are housing, finances, and interpersonal discovery. (A closer comparison might be \u003cem>The North Pole\u003c/em>, the 2017 web series that tackled gentrification; both series are written and directed by people of color, and both are shot in familiar settings throughout Oakland.)\u003c/p>\n\u003cfigure id=\"attachment_13850610\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850610\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg\" alt=\"Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series 'Uneasy.'\" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1020x623.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1-1200x733.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/UNeven.Lake_-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vanessa Flores and Samiat Salami, writers and filmmakers behind the new web series ‘Uneasy.’ \u003ccite>(Jannah Manansala)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Uneasy\u003c/em>‘s two main characters are roommates. Ade is struggling to stay in the apartment with Cat; a recent graduate, she has yet to find a job, and can’t afford to pay rent. She wrestles with her friendship with Cat, and how to develop friendships with other women, and black women specifically—a conflict that Salami says came from real life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Grad school is very white,” Salami explains. After moving the the U.S. from Nigeria, going to school in Florida, and losing part of her identity while attending grad school, “I realized when I graduated that I had no black friends… I would go to the lake, and I would see all these women having a good time, and it felt like something I didn’t get an invitation to.”\u003c/p>\n\u003cp>Meanwhile, Flores had felt “white-washed” because she doesn’t speak Spanish fluently. “It’s rejecting certain things to fit in,” she says.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d_dyS4iMD0w'\n title='//www.youtube.com/embed/d_dyS4iMD0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salami and Flores are not roommates in real life. Salami is married and resides in Oakland, and Flores, priced out of Oakland, recently moved to the Sunset in San Francisco. But “getting to know each other [in real life] definitely shaped the show,” Flores says.\u003c/p>\n\u003cp>Also, both Salami and Flores utilized certain situations from their time in grad school for the show. “In academia, especially in a writer’s workshop, you talk about your identity 24-7,” Salami says. For Flores, her early writing was defined by who was teaching her. “I was writing very white male fiction, and anything else that I was trying to write was nonsensical,” Flores says. “I had to assimilate my writing, and I did it, and I was pretty successful writing like a white man.”\u003c/p>\n\u003cp>In \u003cem>Uneasy\u003c/em>, Ade and Cat are up against being perceived as gentrifiers themselves, even though they both struggle financially. “Cat and Ade are each other’s people, but they will never fully know what it is like to be the other,” Salami explains. “This comes from a very real place.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>For those who noticed the Bay Area soundtrack anchoring the movies \u003cem>Blindspotting\u003c/em> and \u003cem>Sorry To Bother You\u003c/em>, \u003cem>Uneasy\u003c/em> will give a similar vibe. The episodes include music from local artists like Trey Coastal, Mlodic, Honey Gold Jasmine, Qing Qi, Caleborate, and others.\u003c/p>\n\u003cp>For their second season, Salami and Flores aim to find more local women musicians, a challenge they encountered this time around. “When people watch the show, I want it to partner well with the music,” Salami explains.\u003c/p>\n\u003cp>Once Salami and Flores had their writing in motion, the first five episodes were entirely self-funded, with both Salami and Flores taking extra freelance work and maxing out their own credit cards. The remaining episodes (there are 8 total, roughly 10 minutes each) were funded by $10,000 in donations from a \u003ca href=\"https://www.seedandspark.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Seed & Spark\u003c/a> campaign.\u003c/p>\n\u003cp>“For Season Two we want make this bigger, involve more writers, have an actual writer’s room,” Flores says. “I would love for the show to stay grounded in Oakland and the experiences of living here,” Salami says. “Women of color have earned the right to be on television, and have our stories not be perfect.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Uneasy’ premieres in part on Sunday, Feb. 17, at the New Parkway in Oakland; \u003ca href=\"https://e.sparxo.com/uneasy\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>. It premieres in full on YouTube in March. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>alcolm Turner is only half-joking when he says he can’t listen to Juvenile’s “Sets Go Up” anymore.\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>That’s the song he was slapping at max volume when he and our mutual friend Darrell were pulled over by Oakland police back in 2006. You know how it goes: they were stopped for speeding, or maybe a tail light. Asked about any outstanding warrants. One officer smelled marijuana, and before you know it, they were both arrested on charges of possession.\u003c/p>\n\u003cp>Somehow they managed to call me to come pick up their car. When I pulled up, Malcolm and Darrell, friends who I’d known since before puberty, were both in the back of the patrol car, headed to jail. Even worse, they were en route to a decade of disenfranchisement due to a bag of some damn herbs.\u003c/p>\n\u003cp>“We were 18 or 19,” Malcolm told me when we talked recently about the impact the arrest had on his life. “That was before I could get into a career. That hindered employment and all that… it damn near will make you want to go back to selling weed!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Malcolm has since had a few legal gigs: a couple stints at Home Depot, working as a security guard, and he’s gone through Laney College’s welding program—only to find that getting a job in that industry wasn’t as easy as they said it’d be.\u003c/p>\n\u003cp>Late last year, though, Malcolm’s search for a career landed him right back where he started: selling weed. This time, legally.\u003c/p>\n\u003cp>Last December, I walked into Blunts + Moore marijuana dispensary in East Oakland, and there was my pal Malcolm, smiling, talking to customers and peddling marijuana.\u003c/p>\n\u003cfigure id=\"attachment_13849864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-800x535.jpg\" alt=\"Malcolm Turner helps a customer at Blunts + Moore in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm Turner helps a customer at Blunts + Moore 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\">B\u003c/span>ig Mal, as he’s known, was one of the first employees at Blunts + Moore, the first cannabis dispensary in Oakland given a license by way of Oakland’s Cannabis Equity Program.\u003c/p>\n\u003cp>After California legalized the sale of recreational cannabis, Oakland passed a bill that would require at least 50 percent of all cannabis permits to go to applicants of the equity program. To qualify for that program, among other criteria, residents either had to live in a high-crime zone for the past decade, or have been charged with a marijuana-related offense anytime since November of 1996.\u003c/p>\n\u003cp>Over 600 applicants applied. Six of them granted licenses opened in Oakland last year.\u003c/p>\n\u003cp>For those lucky few, the program not only opens the door to the industry, but also is supposed to work as a sort of business incubator, lending contacts and advice to the new entrepreneurs. They’ve also added no-interest loans as an aspect of the program (since currently no bank allows cannabis businesses to have a bank account, let alone grant them loans). Additionally, \u003ca href=\"https://www.eastbayexpress.com/oakland/can-the-state-help-oaklands-equity-program/Content?oid=23672657\" target=\"_blank\" rel=\"noopener noreferrer\">according to the \u003cem>East Bay Express\u003c/em>\u003c/a>, the city is turning to the State of California to add funds to their effort, as last year’s SB 1294 allows cities with equity programs to tap into a $10 million state fund.\u003c/p>\n\u003cp>Even with these efforts, the Cannabis Equity Program has gotten a lot of flack, mainly for being touted more as more progressive than it actually is. You have to imagine: you hear “equity program” and you’d think it’s something that levels the playing field. Six dispensaries in Oakland out of 600 applicants leaves a lot of victims of the war on drugs behind.\u003c/p>\n\u003cp>But it \u003cem>is\u003c/em> a leg up. Brittany Moore, co-founder of Blunts + Moore, acknowledges that she benefits from the program, but says it’s not a standalone solution. “I feel like it’s a little boost. It isn’t a handout. It says, ‘Here is a shot that you would’ve never gotten if it weren’t for this program,’ so I’m grateful for it,” Moore told me as we stood in an office at Blunts + Moore.\u003c/p>\n\u003cfigure id=\"attachment_13849867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-800x535.jpg\" alt=\"Brittany Moore and Alphonso Blunt, cofounders of Blunts + Moore, got an assist from Oakland's Equity Program.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Moore and Alphonso Blunt, cofounders of Blunts + Moore, got an assist from Oakland’s Equity Program. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s co-founder, East Oakland native Alphonso Blunt (yes, the owners’ real names are Blunt and Moore) agrees. “It’s not as bad as they say, it just needed funding and education. Because it works, you just need people who know how to talk, how to not give up any of their equity.”\u003c/p>\n\u003cp>Equity, in terms of making sure all parties have a fair shot in this “green rush,” as some call it, is important—especially for communities that have suffered due to the war on drugs. And equity, in terms of retaining ownership, is just as important.\u003c/p>\n\u003cp>California brought in a reported $2.5 billion from the marijuana industry last year. And although that was less than projected, the industry overall is growing. The Golden State is just one of 10 states where recreational marijuana currently is legal, and one of over 30 states where medical cannabis is legal. In the next six years, it’s predicted the industry will be worth $25 billion.\u003c/p>\n\u003cfigure id=\"attachment_13849866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-800x535.jpg\" alt=\"Alphonso Blunt and a customer.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alphonso Blunt and a customer. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nationally, there are a number of people with political will pushing for further legalization of marijuana, including former New York gubernatorial candidate Cynthia Nixon, Vermont senator Bernie Sanders and Earl Blumenauer, a Democratic Representative from Oregon who authored H.R. 420, a bill that would remove marijuana from the federal Controlled Substances Act.\u003c/p>\n\u003cp>Acknowledging the industry’s potential, as well as the history of over-policing people of color in low-income communities, is part of what led former Oakland council member Desley Brooks to introduce the Equity program. According to \u003ca href=\"http://openjustice.doj.ca.gov/downloads/pdfs/cd15.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a 2015 report\u003c/a> from then-Attorney General Kamala Harris’s Office, “18 percent of arrestees for marijuana-related felonies in 2014 in the state were black even though, according to the 2010 census, only about 6 percent of California’s population is black. Meanwhile, white people constituted 31 percent of arrestees even though they made up more than 40 percent of the state population in 2010.”\u003c/p>\n\u003cp>To understand the situation in Alameda County—and specifically Oakland—take a look at \u003ca href=\"https://sparq.stanford.edu/opd-reports\" target=\"_blank\" rel=\"noopener noreferrer\">a 2014 survey\u003c/a> of over 28,000 Oakland Police Department stops of drivers and pedestrians. It found that a ridiculous amount of the stops—60 percent—were of African Americans. Man, African Americans only make up 28 percent of Oakland’s population, and that’s \u003ca href=\"https://www.theguardian.com/us-news/2018/jun/01/from-black-panthers-to-bbq-becky-the-displacement-of-black-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">constantly decreasing\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13849865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BigMal.Product-800x535.jpg\" alt=\"Malcolm Turner is currently the top sales associate at Blunts + Moore.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm Turner is currently the top sales associate at Blunts + Moore. \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\">M\u003c/span>alcolm was arrested a few years prior to that study, back when the Oakland Police Department \u003ca href=\"https://en.wikipedia.org/wiki/Allen_v._City_of_Oakland\" target=\"_blank\" rel=\"noopener noreferrer\">first landed under federal monitor\u003c/a> for malpractice in communities of color. (Sixteen years later, Oakland is still under that federal monitor.) And despite \u003ca href=\"https://a18.asmdc.org/press-releases/20181001-governor-signs-bonta-bill-reduce-or-remove-outdated-cannabis-convictions\" target=\"_blank\" rel=\"noopener noreferrer\">an Assembly Bill passed last year\u003c/a> to expunge records of those who’ve had marijuana offenses, Malcolm still has his offense on his record.\u003c/p>\n\u003cp>That’s why it’s wild to see him find his footing in this industry. He’s the reason why the legalization of marijuana is important, and even more reason why the Equity Program is important. I’d argue that without the Equity Program—without someone like Moore, who has a background in understanding corporate finance, and Blunt, who has a background in knowing just about everyone in East Oakland—Malcolm wouldn’t have been hired by a dispensary. Especially not by the growing number of \u003ca href=\"https://www.newyorker.com/culture/photo-booth/california-makes-marijuana-a-wellness-industry\" target=\"_blank\" rel=\"noopener noreferrer\">“luxury cannabis” operations\u003c/a> that have sprung up in California, largely white-owned, including \u003ca href=\"https://www.theganjayoga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ganga yoga\u003c/a> and \u003ca href=\"http://mybestbudca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">edibles for dogs\u003c/a>.\u003c/p>\n\u003cp>Moore told me the story of how Malcolm was hired, out of their pool of over 2,000 applicants. Of course, on the day of interviews, Malcolm showed up to the job fair without a resume. Instead of lying about his printer not working, he told them straight-up that he’d seen the job opening on Instagram and decided to just roll up to the joint.\u003c/p>\n\u003cp>Despite his lack of preparation—a dealbreaker for most companies—it was wise of Blunts + Moore to hire him. In their first month of operation, with his product knowledge and natural connection with the customer base, Malcolm was their top “budtender.”\u003c/p>\n\u003cp>When it boils down to it, Malcolm’s story is just one of thousands, a microcosm of the widespread fallout from the war on drugs. That one traffic stop in 2006 needlessly ruined 10 years of Malcom’s life.\u003c/p>\n\u003cp>And while the Equity Program in Oakland has issues, from implementation to administration, after all those years of broken-taillight stops and disproportionate arrests, there’s finally a story of one time local government sort of got something right.\u003c/p>\n\u003cp>Now, the question is how do you bring this to scale in Oakland? And how do you replicate it for other cities, and spread the reparations around?\u003c/p>\n\u003cp>It’s certainly helped Big Mal. During that phone call earlier this month, before he hung up, Malcolm laughed as he told me, “I’m staying in this industry; I could become a doctor, and I’d \u003cem>still\u003c/em> have a side gig doing this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Correction: An earlier version of this article stated that only four of 600 applicants to the equity program were granted licenses. According to Assistant City Administrator Gregory Minor, “the City of Oakland has locally authorized approximately 370 equity applicants for a temporary state license, and six of the eight dispensaries added last year by the City of Oakland are owned-or co-owned by equity applicants.” \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>alcolm Turner is only half-joking when he says he can’t listen to Juvenile’s “Sets Go Up” anymore.\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>That’s the song he was slapping at max volume when he and our mutual friend Darrell were pulled over by Oakland police back in 2006. You know how it goes: they were stopped for speeding, or maybe a tail light. Asked about any outstanding warrants. One officer smelled marijuana, and before you know it, they were both arrested on charges of possession.\u003c/p>\n\u003cp>Somehow they managed to call me to come pick up their car. When I pulled up, Malcolm and Darrell, friends who I’d known since before puberty, were both in the back of the patrol car, headed to jail. Even worse, they were en route to a decade of disenfranchisement due to a bag of some damn herbs.\u003c/p>\n\u003cp>“We were 18 or 19,” Malcolm told me when we talked recently about the impact the arrest had on his life. “That was before I could get into a career. That hindered employment and all that… it damn near will make you want to go back to selling weed!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Malcolm has since had a few legal gigs: a couple stints at Home Depot, working as a security guard, and he’s gone through Laney College’s welding program—only to find that getting a job in that industry wasn’t as easy as they said it’d be.\u003c/p>\n\u003cp>Late last year, though, Malcolm’s search for a career landed him right back where he started: selling weed. This time, legally.\u003c/p>\n\u003cp>Last December, I walked into Blunts + Moore marijuana dispensary in East Oakland, and there was my pal Malcolm, smiling, talking to customers and peddling marijuana.\u003c/p>\n\u003cfigure id=\"attachment_13849864\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849864\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-800x535.jpg\" alt=\"Malcolm Turner helps a customer at Blunts + Moore in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMalandCustomer.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm Turner helps a customer at Blunts + Moore 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\">B\u003c/span>ig Mal, as he’s known, was one of the first employees at Blunts + Moore, the first cannabis dispensary in Oakland given a license by way of Oakland’s Cannabis Equity Program.\u003c/p>\n\u003cp>After California legalized the sale of recreational cannabis, Oakland passed a bill that would require at least 50 percent of all cannabis permits to go to applicants of the equity program. To qualify for that program, among other criteria, residents either had to live in a high-crime zone for the past decade, or have been charged with a marijuana-related offense anytime since November of 1996.\u003c/p>\n\u003cp>Over 600 applicants applied. Six of them granted licenses opened in Oakland last year.\u003c/p>\n\u003cp>For those lucky few, the program not only opens the door to the industry, but also is supposed to work as a sort of business incubator, lending contacts and advice to the new entrepreneurs. They’ve also added no-interest loans as an aspect of the program (since currently no bank allows cannabis businesses to have a bank account, let alone grant them loans). Additionally, \u003ca href=\"https://www.eastbayexpress.com/oakland/can-the-state-help-oaklands-equity-program/Content?oid=23672657\" target=\"_blank\" rel=\"noopener noreferrer\">according to the \u003cem>East Bay Express\u003c/em>\u003c/a>, the city is turning to the State of California to add funds to their effort, as last year’s SB 1294 allows cities with equity programs to tap into a $10 million state fund.\u003c/p>\n\u003cp>Even with these efforts, the Cannabis Equity Program has gotten a lot of flack, mainly for being touted more as more progressive than it actually is. You have to imagine: you hear “equity program” and you’d think it’s something that levels the playing field. Six dispensaries in Oakland out of 600 applicants leaves a lot of victims of the war on drugs behind.\u003c/p>\n\u003cp>But it \u003cem>is\u003c/em> a leg up. Brittany Moore, co-founder of Blunts + Moore, acknowledges that she benefits from the program, but says it’s not a standalone solution. “I feel like it’s a little boost. It isn’t a handout. It says, ‘Here is a shot that you would’ve never gotten if it weren’t for this program,’ so I’m grateful for it,” Moore told me as we stood in an office at Blunts + Moore.\u003c/p>\n\u003cfigure id=\"attachment_13849867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-800x535.jpg\" alt=\"Brittany Moore and Alphonso Blunt, cofounders of Blunts + Moore, got an assist from Oakland's Equity Program.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.MooreandBlunt.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Moore and Alphonso Blunt, cofounders of Blunts + Moore, got an assist from Oakland’s Equity Program. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moore’s co-founder, East Oakland native Alphonso Blunt (yes, the owners’ real names are Blunt and Moore) agrees. “It’s not as bad as they say, it just needed funding and education. Because it works, you just need people who know how to talk, how to not give up any of their equity.”\u003c/p>\n\u003cp>Equity, in terms of making sure all parties have a fair shot in this “green rush,” as some call it, is important—especially for communities that have suffered due to the war on drugs. And equity, in terms of retaining ownership, is just as important.\u003c/p>\n\u003cp>California brought in a reported $2.5 billion from the marijuana industry last year. And although that was less than projected, the industry overall is growing. The Golden State is just one of 10 states where recreational marijuana currently is legal, and one of over 30 states where medical cannabis is legal. In the next six years, it’s predicted the industry will be worth $25 billion.\u003c/p>\n\u003cfigure id=\"attachment_13849866\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849866\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-800x535.jpg\" alt=\"Alphonso Blunt and a customer.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.BluntandCustomer.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alphonso Blunt and a customer. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nationally, there are a number of people with political will pushing for further legalization of marijuana, including former New York gubernatorial candidate Cynthia Nixon, Vermont senator Bernie Sanders and Earl Blumenauer, a Democratic Representative from Oregon who authored H.R. 420, a bill that would remove marijuana from the federal Controlled Substances Act.\u003c/p>\n\u003cp>Acknowledging the industry’s potential, as well as the history of over-policing people of color in low-income communities, is part of what led former Oakland council member Desley Brooks to introduce the Equity program. According to \u003ca href=\"http://openjustice.doj.ca.gov/downloads/pdfs/cd15.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">a 2015 report\u003c/a> from then-Attorney General Kamala Harris’s Office, “18 percent of arrestees for marijuana-related felonies in 2014 in the state were black even though, according to the 2010 census, only about 6 percent of California’s population is black. Meanwhile, white people constituted 31 percent of arrestees even though they made up more than 40 percent of the state population in 2010.”\u003c/p>\n\u003cp>To understand the situation in Alameda County—and specifically Oakland—take a look at \u003ca href=\"https://sparq.stanford.edu/opd-reports\" target=\"_blank\" rel=\"noopener noreferrer\">a 2014 survey\u003c/a> of over 28,000 Oakland Police Department stops of drivers and pedestrians. It found that a ridiculous amount of the stops—60 percent—were of African Americans. Man, African Americans only make up 28 percent of Oakland’s population, and that’s \u003ca href=\"https://www.theguardian.com/us-news/2018/jun/01/from-black-panthers-to-bbq-becky-the-displacement-of-black-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">constantly decreasing\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13849865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849865\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/BigMal.Product-800x535.jpg\" alt=\"Malcolm Turner is currently the top sales associate at Blunts + Moore.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/BigMal.Product.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Malcolm Turner is currently the top sales associate at Blunts + Moore. \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\">M\u003c/span>alcolm was arrested a few years prior to that study, back when the Oakland Police Department \u003ca href=\"https://en.wikipedia.org/wiki/Allen_v._City_of_Oakland\" target=\"_blank\" rel=\"noopener noreferrer\">first landed under federal monitor\u003c/a> for malpractice in communities of color. (Sixteen years later, Oakland is still under that federal monitor.) And despite \u003ca href=\"https://a18.asmdc.org/press-releases/20181001-governor-signs-bonta-bill-reduce-or-remove-outdated-cannabis-convictions\" target=\"_blank\" rel=\"noopener noreferrer\">an Assembly Bill passed last year\u003c/a> to expunge records of those who’ve had marijuana offenses, Malcolm still has his offense on his record.\u003c/p>\n\u003cp>That’s why it’s wild to see him find his footing in this industry. He’s the reason why the legalization of marijuana is important, and even more reason why the Equity Program is important. I’d argue that without the Equity Program—without someone like Moore, who has a background in understanding corporate finance, and Blunt, who has a background in knowing just about everyone in East Oakland—Malcolm wouldn’t have been hired by a dispensary. Especially not by the growing number of \u003ca href=\"https://www.newyorker.com/culture/photo-booth/california-makes-marijuana-a-wellness-industry\" target=\"_blank\" rel=\"noopener noreferrer\">“luxury cannabis” operations\u003c/a> that have sprung up in California, largely white-owned, including \u003ca href=\"https://www.theganjayoga.com/\" target=\"_blank\" rel=\"noopener noreferrer\">ganga yoga\u003c/a> and \u003ca href=\"http://mybestbudca.com/\" target=\"_blank\" rel=\"noopener noreferrer\">edibles for dogs\u003c/a>.\u003c/p>\n\u003cp>Moore told me the story of how Malcolm was hired, out of their pool of over 2,000 applicants. Of course, on the day of interviews, Malcolm showed up to the job fair without a resume. Instead of lying about his printer not working, he told them straight-up that he’d seen the job opening on Instagram and decided to just roll up to the joint.\u003c/p>\n\u003cp>Despite his lack of preparation—a dealbreaker for most companies—it was wise of Blunts + Moore to hire him. In their first month of operation, with his product knowledge and natural connection with the customer base, Malcolm was their top “budtender.”\u003c/p>\n\u003cp>When it boils down to it, Malcolm’s story is just one of thousands, a microcosm of the widespread fallout from the war on drugs. That one traffic stop in 2006 needlessly ruined 10 years of Malcom’s life.\u003c/p>\n\u003cp>And while the Equity Program in Oakland has issues, from implementation to administration, after all those years of broken-taillight stops and disproportionate arrests, there’s finally a story of one time local government sort of got something right.\u003c/p>\n\u003cp>Now, the question is how do you bring this to scale in Oakland? And how do you replicate it for other cities, and spread the reparations around?\u003c/p>\n\u003cp>It’s certainly helped Big Mal. During that phone call earlier this month, before he hung up, Malcolm laughed as he told me, “I’m staying in this industry; I could become a doctor, and I’d \u003cem>still\u003c/em> have a side gig doing this.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Correction: An earlier version of this article stated that only four of 600 applicants to the equity program were granted licenses. According to Assistant City Administrator Gregory Minor, “the City of Oakland has locally authorized approximately 370 equity applicants for a temporary state license, and six of the eight dispensaries added last year by the City of Oakland are owned-or co-owned by equity applicants.” \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Inside Bandcamp's New Oakland Venue, Record Shop and Office",
"headTitle": "Inside Bandcamp’s New Oakland Venue, Record Shop and Office | KQED",
"content": "\u003cp>The first thing visitors encounter at the new Oakland offices for Bandcamp, the popular music streaming and merchandise platform, is a rotating display of 99 vinyl LPs, each cover shown outward. A digital screen embedded in one row shows more album art in a running live feed of global online sales. In nooks lining the room are listening stations featuring loveseats and turntables, and in one corner there’s a low stage that, on a recent visit, featured a full rock instrument backline.\u003c/p>\n\u003cp>This is Bandcamp’s record store, to be open Monday-Friday in a room that doubles as a small live music venue. It’s attached to the first permanent office for Bandcamp, a company considered an artist-friendly alternative to streaming services such as Spotify combined with a marketplace for physical goods, and it’s Oakland’s highest-profile music industry arrival in more than a decade.\u003c/p>\n\u003cp>“We view ourselves as an online record store, not a streaming service,” said Chief Operating Officer Josh Kim. “We’re a place for people to support artists directly. Bandcamp is almost half physical sales at this point. We’re really as much an Etsy, if not more, as we are a Pandora.”\u003c/p>\n\u003cfigure id=\"attachment_13848876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg\" alt=\"Josh Kim, Chief Operating Officer of Bandcamp, in the company's new Oakland offices.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Kim, Chief Operating Officer of Bandcamp, in the company’s new Oakland offices. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the Bay Area is home to a Spotify office as well as the headquarters of webcaster Pandora (which is shifting its workforce towards \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2018/02/01/pandora-oakland-moves-atlanta.html\">Atlanta\u003c/a>), the streaming companies are viewed locally as closer to tech than the music industry. (Not to mention Apple and Google, which also offer streaming platforms.) Bandcamp has plenty of engineers and Silicon Valley ties, but the company is eager to align itself with local music. Kim described the public-facing aspects of the multipurpose space as an expression of Bandcamp’s artist-first mission.\u003c/p>\n\u003cp>“We needed a home for our largest cohort, and we realized the space could also further the company’s message,” Kim explained. “So we wanted a record store or a performance space. We wanted to be part of a music community, even on a neighborhood level. With Oakland, it all clicked.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[contextly_sidebar id=”Fvfgs9Is4O4OtZTWCa989C6iCgbQlW7M”]\u003c/p>\n\u003cp>Although the company’s 63 employees will remain distributed around the world, Kim said, 17 of them are expected to regularly work out of the 5,000-square-foot office on the corner of 19th Street and Broadway, which Bandcamp has leased for up to 15 years. Of the company’s 12 hires in the past 12 months, three were specific to running the shop and venue.\u003c/p>\n\u003cp>One of them is Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, who Bandcamp hired to manage the shop and venue. Working under her is Max Gibson, founder of the website and party outfit Wine & Bowties, and DJ Miguel Reyes. Sexton said the shows will be weekly and generally free, with local and touring acts, and will be recorded for a video series. “We want the space to be accessible,” she said, noting the shows will be all-ages and often benefiting local nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_13848874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg\" alt=\"The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs. \u003ccite>(Richard Morgenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefit shows will likely continue the company’s progressive record. In what it described as a gesture of solidarity with immigrants, Bandcamp donated its cut of sales from a 24-hour period to the American Civil Liberties Union in early 2017. The company has since fundraised for the Transgender Law Center and the Voting Rights Project. Kim said the company will similarly support local causes, mentioning Bay Area Girls Rock Camp.\u003c/p>\n\u003cp>The grand opening party, on Feb. 1, features Jazz on the Sidewalk, a band composed of Oakland School for the Arts students, as well as local hip-hop and indie-rock acts Queens D.Light, Sol Development and Bells Atlas. Beforehand, MJ’s Brass Boppers will lead a second line-style procession from the First Fridays street fair to the company’s front door, arriving around 7pm.\u003c/p>\n\u003cp>\u003ca href=\"https://bandcamp.com/\">Bandcamp\u003c/a>, which launched in 2008, offers listeners the ability to stream, download or purchase a physical copy of a given release on one page, and artists and labels set their own price for each option (often free). There’s also a social element to the site via fan accounts, whereby users can receive notifications about new releases, leave comments, and peruse each other’s collections.\u003c/p>\n\u003cp>The company, which has been profitable since 2012, takes a 10-15 percent cut of sales. (iTunes, by comparison, keeps 30 percent before further set-asides for publishers and labels.) According to the site, Bandcamp has directly paid artists more than $7.2 million in the past 30 days. Its all-time payouts recently surpassed $350 million.\u003c/p>\n\u003cfigure id=\"attachment_13848877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg\" alt=\"Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp's record shop and venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp’s record shop and venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists leery of the middlemen between them and Spotify or Tidal, which are often criticized for paltry payouts, Bandcamp is a go-to service. Similarly to how some rappers are synonymous with Soundcloud, indie-rock and underground punk and metal are closely associated with Bandcamp. (To wit, in 2017 a meme satirically contrasted the \u003ca href=\"https://www.dailydot.com/unclick/soundcloud-vs-bandcamp-meme/\">respective aesthetics\u003c/a> of each service’s users.) Legacy indies such as Sub Pop and Dischord have label accounts, and the site is central to the breakout bedroom-songwriter narratives of Jay Som and Car Seat Headrest.\u003c/p>\n\u003cp>In 2016 the company hired several writers to staff its blog, the \u003ca href=\"https://daily.bandcamp.com/\">Bandcamp Daily\u003c/a>, which offers positive coverage of artists on the site. The Daily staff will remain in New York, but the Bandcamp Weekly, a radio show hosted by former Ubiquity Records A&R Andrew Jervis, will be recorded at the Oakland office. (This writer contributed to the Daily between 2016-2018.) The forthcoming video series, recorded on-site, will further bolster the site’s promotional infrastructure.\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s new Oakland offices goes up on Jan. 17, 2019. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To local label operators, who often lament music media’s concentration in New York and Los Angeles, Bandcamp’s arrival in Oakland is seen as a networking opportunity. Kim mentioned an upcoming all-staff gathering at the office, plus a visit from staff at Sub Pop. Sexton also emphasized that she doesn’t want to compete with local record stores. “We’re actually going to produce a map of all the record shops in town to give to visitors,” she said.\u003c/p>\n\u003cp>Andrew Lopez of Father/Daughter Records—one of few Bay Area labels to consistently expose local indie-rock signees to wider audiences—said the label’s Bandcamp does more business than its official webstore. For many independent releases, a Daily feature is the publicity equivalent of placement on a popular Spotify playlist.\u003c/p>\n\u003cp>Lopez said he recently heard from Sexton about ordering physical Father/Daughter titles for the record store, a level of outreach he’s never experienced with, say, Pandora.\u003c/p>\n\u003cp>“It was direct, not through a distributor,” he said. “It’s cool that they’re trying to partner with artists here in the Bay.”\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first thing visitors encounter at the new Oakland offices for Bandcamp, the popular music streaming and merchandise platform, is a rotating display of 99 vinyl LPs, each cover shown outward. A digital screen embedded in one row shows more album art in a running live feed of global online sales. In nooks lining the room are listening stations featuring loveseats and turntables, and in one corner there’s a low stage that, on a recent visit, featured a full rock instrument backline.\u003c/p>\n\u003cp>This is Bandcamp’s record store, to be open Monday-Friday in a room that doubles as a small live music venue. It’s attached to the first permanent office for Bandcamp, a company considered an artist-friendly alternative to streaming services such as Spotify combined with a marketplace for physical goods, and it’s Oakland’s highest-profile music industry arrival in more than a decade.\u003c/p>\n\u003cp>“We view ourselves as an online record store, not a streaming service,” said Chief Operating Officer Josh Kim. “We’re a place for people to support artists directly. Bandcamp is almost half physical sales at this point. We’re really as much an Etsy, if not more, as we are a Pandora.”\u003c/p>\n\u003cfigure id=\"attachment_13848876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848876\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg\" alt=\"Josh Kim, Chief Operating Officer of Bandcamp, in the company's new Oakland offices.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Josh-Kim-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Josh Kim, Chief Operating Officer of Bandcamp, in the company’s new Oakland offices. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the Bay Area is home to a Spotify office as well as the headquarters of webcaster Pandora (which is shifting its workforce towards \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2018/02/01/pandora-oakland-moves-atlanta.html\">Atlanta\u003c/a>), the streaming companies are viewed locally as closer to tech than the music industry. (Not to mention Apple and Google, which also offer streaming platforms.) Bandcamp has plenty of engineers and Silicon Valley ties, but the company is eager to align itself with local music. Kim described the public-facing aspects of the multipurpose space as an expression of Bandcamp’s artist-first mission.\u003c/p>\n\u003cp>“We needed a home for our largest cohort, and we realized the space could also further the company’s message,” Kim explained. “So we wanted a record store or a performance space. We wanted to be part of a music community, even on a neighborhood level. With Oakland, it all clicked.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Although the company’s 63 employees will remain distributed around the world, Kim said, 17 of them are expected to regularly work out of the 5,000-square-foot office on the corner of 19th Street and Broadway, which Bandcamp has leased for up to 15 years. Of the company’s 12 hires in the past 12 months, three were specific to running the shop and venue.\u003c/p>\n\u003cp>One of them is Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, who Bandcamp hired to manage the shop and venue. Working under her is Max Gibson, founder of the website and party outfit Wine & Bowties, and DJ Miguel Reyes. Sexton said the shows will be weekly and generally free, with local and touring acts, and will be recorded for a video series. “We want the space to be accessible,” she said, noting the shows will be all-ages and often benefiting local nonprofits.\u003c/p>\n\u003cfigure id=\"attachment_13848874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg\" alt=\"The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp-Oakland-Record-Store-and-Venue-2-Courtesy-Bandcamp-Credit-Richard-Morgenstein.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The first thing visitors encounter at Bandcamp’s new office is a rotating display of 99 vinyl LPs. \u003ccite>(Richard Morgenstein)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The benefit shows will likely continue the company’s progressive record. In what it described as a gesture of solidarity with immigrants, Bandcamp donated its cut of sales from a 24-hour period to the American Civil Liberties Union in early 2017. The company has since fundraised for the Transgender Law Center and the Voting Rights Project. Kim said the company will similarly support local causes, mentioning Bay Area Girls Rock Camp.\u003c/p>\n\u003cp>The grand opening party, on Feb. 1, features Jazz on the Sidewalk, a band composed of Oakland School for the Arts students, as well as local hip-hop and indie-rock acts Queens D.Light, Sol Development and Bells Atlas. Beforehand, MJ’s Brass Boppers will lead a second line-style procession from the First Fridays street fair to the company’s front door, arriving around 7pm.\u003c/p>\n\u003cp>\u003ca href=\"https://bandcamp.com/\">Bandcamp\u003c/a>, which launched in 2008, offers listeners the ability to stream, download or purchase a physical copy of a given release on one page, and artists and labels set their own price for each option (often free). There’s also a social element to the site via fan accounts, whereby users can receive notifications about new releases, leave comments, and peruse each other’s collections.\u003c/p>\n\u003cp>The company, which has been profitable since 2012, takes a 10-15 percent cut of sales. (iTunes, by comparison, keeps 30 percent before further set-asides for publishers and labels.) According to the site, Bandcamp has directly paid artists more than $7.2 million in the past 30 days. Its all-time payouts recently surpassed $350 million.\u003c/p>\n\u003cfigure id=\"attachment_13848877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg\" alt=\"Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp's record shop and venue. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Sarah-Sexton-of-Bandcamp.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Sexton, founder of the fest and label Oakland Indie Mayhem, manages Bandcamp’s record shop and venue. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For artists leery of the middlemen between them and Spotify or Tidal, which are often criticized for paltry payouts, Bandcamp is a go-to service. Similarly to how some rappers are synonymous with Soundcloud, indie-rock and underground punk and metal are closely associated with Bandcamp. (To wit, in 2017 a meme satirically contrasted the \u003ca href=\"https://www.dailydot.com/unclick/soundcloud-vs-bandcamp-meme/\">respective aesthetics\u003c/a> of each service’s users.) Legacy indies such as Sub Pop and Dischord have label accounts, and the site is central to the breakout bedroom-songwriter narratives of Jay Som and Car Seat Headrest.\u003c/p>\n\u003cp>In 2016 the company hired several writers to staff its blog, the \u003ca href=\"https://daily.bandcamp.com/\">Bandcamp Daily\u003c/a>, which offers positive coverage of artists on the site. The Daily staff will remain in New York, but the Bandcamp Weekly, a radio show hosted by former Ubiquity Records A&R Andrew Jervis, will be recorded at the Oakland office. (This writer contributed to the Daily between 2016-2018.) The forthcoming video series, recorded on-site, will further bolster the site’s promotional infrastructure.\u003c/p>\n\u003cfigure id=\"attachment_13848951\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg\" alt=\"Signage at Bandcamp's new Oakland offices goes up on Jan. 17, 2019.\" width=\"800\" height=\"546\" class=\"size-medium wp-image-13848951\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-800x546.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-768x524.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_-1020x696.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/Bandcamp.Sign_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Signage at Bandcamp’s new Oakland offices goes up on Jan. 17, 2019. \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To local label operators, who often lament music media’s concentration in New York and Los Angeles, Bandcamp’s arrival in Oakland is seen as a networking opportunity. Kim mentioned an upcoming all-staff gathering at the office, plus a visit from staff at Sub Pop. Sexton also emphasized that she doesn’t want to compete with local record stores. “We’re actually going to produce a map of all the record shops in town to give to visitors,” she said.\u003c/p>\n\u003cp>Andrew Lopez of Father/Daughter Records—one of few Bay Area labels to consistently expose local indie-rock signees to wider audiences—said the label’s Bandcamp does more business than its official webstore. For many independent releases, a Daily feature is the publicity equivalent of placement on a popular Spotify playlist.\u003c/p>\n\u003cp>Lopez said he recently heard from Sexton about ordering physical Father/Daughter titles for the record store, a level of outreach he’s never experienced with, say, Pandora.\u003c/p>\n\u003cp>“It was direct, not through a distributor,” he said. “It’s cool that they’re trying to partner with artists here in the Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>To commemorate the 10th anniversary of Oscar Grant’s death, KQED \u003ca href=\"https://www.kqed.org/arts/13847179/dear-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a> you to look back on Grant’s life and legacy. What would you say to Oscar Grant today? What changes have you seen in your community over the past decade? What hopes do you have for the future?\u003c/em>\u003c/p>\n\u003cp>The response was overwhelming. Here, we present a selection of your responses—the things you’d tell Oscar Grant if you had the chance. Read them below, and see the rest of our \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant 10 Years Later\u003c/a> coverage \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>My first job as a teenager was working with you and your cousin John in the meat market of Farmer Joe’s, our local grocery store. You were always quick to make a joke or flash a smile. Your enthusiasm helped pass countless hours at a job that wasn’t exactly glamorous. I’ll never forget the pit in my stomach I felt when I saw your face in that morning’s paper. Hoping you’re in a better place.\u003c/p>\n\u003cp>Take care O.\u003c/p>\n\u003cp>\u003cem>—Rafi Ronquillo, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I was a freshman in college, fresh off the euphoria of working to get Barack Obama elected. I remember contemplating taking time off school to organize, and being reminded that the work to create a more perfect, fair, and inclusive union is far from finished. Rest in power.\u003c/p>\n\u003cp>\u003cem>—Michael Tubbs, Mayor of Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>Brother, I was 18 years old and your murder was the firsthand experience my grandmother had always told me about. She used to tell me that as a black man I had to stay aware of my surroundings and be careful of the law. Growing up, I had been harassed by the police and thought it was just something they did to black and brown males routinely. Your murder opened my eyes and helped me realize it is possible I could be murdered by law officials with no type of accommodation or justice. Nothing can ever replace your life.\u003c/p>\n\u003cp>\u003cem>—Drakkar Noir, Berkeley\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”A31JO9bXZcTeCW2A8bsHO4ivdur00AQx”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As I craft this message on a southbound BART train that’s pulling into West Oakland, there’s not a single trip through Fruitvale where I don’t remember your name. Leave it up to me, and that station would be renamed after you.\u003c/p>\n\u003cp>\u003cem>—Andrew, San Jose, CA\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>You know those days when everything moves in slow motion, and you notice each moment? I had one of those days at the grocery store once when you cut me some beautiful salmon at the deli. I remember you making the cuts and watching the pink of the fish. While I never knew you, I felt the loss of you, as one does when a community member is taken.\u003c/p>\n\u003cp>\u003cem>—Frances Fortini, San Francisco\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>We went to church together at Palma Ceia Baptist Church in Hayward. Although you were a few years older than me, we both grew up in that church. You and I even played on the basketball team sponsored by Palma Ceia; those were some of my most enjoyable times playing the game. I distinctly remember watching you play and lead the 13-15 team. I looked up to you on the court as somebody who went hard, respected his teammates, and played with a love for the game that was apparent.\u003c/p>\n\u003cp>It was these moments at Palma Ceia that made your unjust and untimely demise hard to take in. To see someone that I’ve shared experiences with get cut down in such a violent and indifferent manner let me know that it could happen to me—and anyone like me.\u003c/p>\n\u003cp>Oscar, you were a value in life and you are still a value. What happened to you galvanized the Town and black people around the nation. It ushered in a new era of resistance to state violence and drove home for a new generation the urgency of eradicating structural racism. I know this will never fill the hole left in your family’s heart, but you should know you did not die in vain.\u003c/p>\n\u003cp>Rest in Peace Brother.\u003c/p>\n\u003cp>\u003cem>—J. Turner, San Diego\u003c/em>\u003c/p>\n\u003cp>[contextly_sidebar id=”DAyIbpeMPfqyXNn1MfW6eb5hb9uk88cv”]\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>They took you away just as you were bringing new life to yourself and your family. We fight for you in the hope that it never happens again.\u003c/p>\n\u003cp>\u003cem>—Semhar, California\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I live five minutes away from where you died, and when I’m on the same BART platform, I ask myself: What happens to all of that potential and energy? What about the communal grief and rage? When precious life is squandered, how much light and life and love is lost, do we lose our own humanity?\u003c/p>\n\u003cp>Your death sparked protests, activists in the streets, and continued through the grief and criminal trial, because your life matters. You are loved, you are missed, you will never be forgotten.\u003c/p>\n\u003cp>Rest In Peace, Oscar Grant.\u003c/p>\n\u003cp>\u003cem>—Kristy Higares, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>If I could tell you to stay home with your family, I would. If I could tell you to always watch out for your surroundings, I would. What I can’t tell you is that police brutality will end, because it won’t. What I can’t say is the color of your skin wasn’t your fault, because it was. This world has been so disgusting and I am sorry you had to get stuck in the middle of their stupidity and cowardliness.\u003c/p>\n\u003cp>Your family and friends stand by to keep you in our memories. Your life was worth more than to be taken away at a BART station for doing nothing. Your life was worth so much more than an object that those in a higher power feel they can control. You \u003cem>are\u003c/em> so much more, and your life and story will live on to show the oppression many of us people of color have to face.\u003c/p>\n\u003cp>\u003cem>—Jocelyn Alcala, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”zsXdmfeg8EMh5ojNWti4rd02ZJ66lYlr”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I want to tell you that you have one of the strongest mothers in the world. She nurtures other mothers and families that don’t know how to deal with losing their children and loved ones. She saves lives by witnessing and standing behind them in a time of need. She has started a basketball team, she gives scholarships, she does backpack drives, she travels on the regular to speak and hold seminars about violence. She has became an activist, and spokeswoman, and she is your voice.\u003c/p>\n\u003cp>One thing that I will say is that “I AM OSCAR GRANT.” Rest easy, baby boy. I never got a chance to meet you, but I know you. Forever Fruitvale Station.\u003c/p>\n\u003cp>\u003cem>—Lakisha Carmon, Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>It’s been 10 years. I went into labor that night. My daughter turns 10 on Jan. 2. I often ask myself: How was I bringing life into this world, when someone was stealing life from you?\u003c/p>\n\u003cp>You deserve to be here. I still drive down the streets of Oakland wondering who you would’ve become. The potential that left with you that night. The daughter who had to be told that daddy wasn’t coming home.\u003c/p>\n\u003cp>Your story is one that Oakland will never be able to hide. Oakland changed in a way we didn’t know was possible after your death. I want to say we grew stronger because of you. I want to say we see each other through different eyes because of you. I want to say that I’m sorry that your life ending had to be the thing to bring us closer together. What would Oakland look like through your eyes after these 10 years?\u003c/p>\n\u003cp>\u003cem>—Deema, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I first heard about you 10 years ago. I was only seven years old, but I still managed to understand the injustice that occurred to you. It’s something that horribly became common in our world, and it shouldn’t have.\u003c/p>\n\u003cp>You were a fellow member of our community in Oakland, a son, a father, an uncle, a friend, and so much in that day. Oscar Grant, you are someone that is greatly remembered, and you were able to open many people’s eyes. You opened my eyes. Don’t give up on us. Don’t give up on Oakland.\u003c/p>\n\u003cp>\u003cem>—Ariana Perfino, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”PAHpEzOVBWXfXeVcMO02T36kweluOQiL”]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>In 2009, I was living in Los Angeles, where I was born and raised, and working for a nonprofit downtown. In 2009, I was trying to figure out what I wanted to do with my life, thinking about getting a law degree or a masters in public policy.\u003c/p>\n\u003cp>In 2009, your life was taken. I felt so much sadness and outrage when I learned about what had happened to you, and when I watched the video of how you were treated. I felt so helpless. When the trial was moved to Los Angeles, I went to the courthouse to protest police brutality. It was how my grief manifested. It didn’t feel good enough.\u003c/p>\n\u003cp>Shortly after, I decided to apply for grad school. I wanted to be in Oakland. I didn’t know much about the Bay Area, I’d never lived anywhere but LA. But seeing how the community came together to expose the systemic issues that led to that event made me want to be in the Bay, even if it was only for two years.\u003c/p>\n\u003cp>Now, eight years later, I’m still in Oakland. I try my best to be a champion of equity, to be a positive change in my community. For four years, I rode BART from Fruitvale into San Francisco for work. I thought about you often and still do.\u003c/p>\n\u003cp>I wish I could tell you that lots has changed since 2009, but I think the challenges have only gotten greater. I write this to you only to let you know that you had a huge impact on my life. I hope one day we’ll be able to say what happened to you would never happen in this day and age.\u003c/p>\n\u003cp>\u003cem>—Susan, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As an African American male myself, my grandmother used to always be afraid for me to go out on New Year’s Eve, the Fourth of July and other holidays. It used to always annoy me, and I remember when your tragic situation happened. It basically reaffirmed everything she was afraid of.\u003c/p>\n\u003cp>Every time I go by Fruitvale Station, I call it Grant Station in your honor.\u003c/p>\n\u003cp>Your life and your death taught me that you can die any day. What you do in life is not measured by how many years you live, it’s about the impact when you’re here. I feel bad, almost, for feeling bad for myself. The times when I’m down, the times when I’m sad, I think about those people who aren’t here today to live life, and I try to be appreciative of the fact of just living life.\u003c/p>\n\u003cp>I’m leaving this voicemail at 2:04am after a frustrating day, but I had to make a comment because life is fragile and the best way to handle it is by living it to the fullest every day. Rest in peace.\u003c/p>\n\u003cp>\u003cem>—Amechi, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>[contextly_sidebar id=”D0TuKgIAJbCpcve5sMimDYyEHtthocI4″]\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I’m sorry that you had to be the one to open people’s eyes to police brutality. I was six when you passed away. I didn’t understand what had happened because I was so young, but growing up in Oakland, I heard your story and analyzed it. Your death caused many people from our community great pain and concerns about safety. Your death also brought people together to teach and show others about the issues between people of color and the police.\u003c/p>\n\u003cp>I am afraid of the police. I am afraid of being pulled over for a stop-and-frisk due to my racial identity. I am afraid of walking too fast down the street and being followed. Nothing has changed since you passed away. Young black men are still being killed by police. Your story made headlines and still, nothing has changed.\u003c/p>\n\u003cp>We don’t need any more Trayvon Martins or Eric Garners. We need more people standing up—not only for us, but for those that have died at the hands of white police without justice.\u003c/p>\n\u003cp>\u003cem>—Paula Ortiz, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I didn’t know you personally, but we had mutual friends. For so many, your face was a picture of their son, a brother, someone’s father, a friend.\u003c/p>\n\u003cp>I’m not doing so good today, I’m struggling, actually. Every year on New Year’s Eve I remember where I was. I argued with my now ex-boyfriend, who didn’t want to go out because it wasn’t safe, because anything could happen. We went to bed early that night and woke up the next morning to the news of what would forever be recorded as the tragic last few moments of your life.\u003c/p>\n\u003cp>I’m struggling today because I’m alone, or more importantly I’m lonely; I go through bouts of crippling anxiety and depression that nobody knows about. I’m not suicidal, but I often evaluate my existence and wonder what I’m doing, where I’m going, and why I’m here. Today, for me, your life serves as a reminder: no matter how lonely or alone I feel, I’m alive. I’m alive and get to make the choice to live, a choice that you were not only denied but was forcibly taken from you.\u003c/p>\n\u003cp>I just want to thank you, Oscar Grant. Thank you for your contribution to society, to community, to culture, to life. Your impact on my life is a reason to get up today and live. I honestly can’t think of any more significant an impact, and for that I’m truly grateful.\u003c/p>\n\u003cp>Dear Oscar Grant, you may have saved my life.\u003c/p>\n\u003cp>\u003cem>—Anonymous, Pleasanton\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>To commemorate the 10th anniversary of Oscar Grant’s death, KQED \u003ca href=\"https://www.kqed.org/arts/13847179/dear-oscar-grant\" target=\"_blank\" rel=\"noopener noreferrer\">asked\u003c/a> you to look back on Grant’s life and legacy. What would you say to Oscar Grant today? What changes have you seen in your community over the past decade? What hopes do you have for the future?\u003c/em>\u003c/p>\n\u003cp>The response was overwhelming. Here, we present a selection of your responses—the things you’d tell Oscar Grant if you had the chance. Read them below, and see the rest of our \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant 10 Years Later\u003c/a> coverage \u003ca href=\"https://www.kqed.org/arts/series/oscar-grant-10-years\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>My first job as a teenager was working with you and your cousin John in the meat market of Farmer Joe’s, our local grocery store. You were always quick to make a joke or flash a smile. Your enthusiasm helped pass countless hours at a job that wasn’t exactly glamorous. I’ll never forget the pit in my stomach I felt when I saw your face in that morning’s paper. Hoping you’re in a better place.\u003c/p>\n\u003cp>Take care O.\u003c/p>\n\u003cp>\u003cem>—Rafi Ronquillo, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I was a freshman in college, fresh off the euphoria of working to get Barack Obama elected. I remember contemplating taking time off school to organize, and being reminded that the work to create a more perfect, fair, and inclusive union is far from finished. Rest in power.\u003c/p>\n\u003cp>\u003cem>—Michael Tubbs, Mayor of Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>Brother, I was 18 years old and your murder was the firsthand experience my grandmother had always told me about. She used to tell me that as a black man I had to stay aware of my surroundings and be careful of the law. Growing up, I had been harassed by the police and thought it was just something they did to black and brown males routinely. Your murder opened my eyes and helped me realize it is possible I could be murdered by law officials with no type of accommodation or justice. Nothing can ever replace your life.\u003c/p>\n\u003cp>\u003cem>—Drakkar Noir, Berkeley\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As I craft this message on a southbound BART train that’s pulling into West Oakland, there’s not a single trip through Fruitvale where I don’t remember your name. Leave it up to me, and that station would be renamed after you.\u003c/p>\n\u003cp>\u003cem>—Andrew, San Jose, CA\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>You know those days when everything moves in slow motion, and you notice each moment? I had one of those days at the grocery store once when you cut me some beautiful salmon at the deli. I remember you making the cuts and watching the pink of the fish. While I never knew you, I felt the loss of you, as one does when a community member is taken.\u003c/p>\n\u003cp>\u003cem>—Frances Fortini, San Francisco\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>We went to church together at Palma Ceia Baptist Church in Hayward. Although you were a few years older than me, we both grew up in that church. You and I even played on the basketball team sponsored by Palma Ceia; those were some of my most enjoyable times playing the game. I distinctly remember watching you play and lead the 13-15 team. I looked up to you on the court as somebody who went hard, respected his teammates, and played with a love for the game that was apparent.\u003c/p>\n\u003cp>It was these moments at Palma Ceia that made your unjust and untimely demise hard to take in. To see someone that I’ve shared experiences with get cut down in such a violent and indifferent manner let me know that it could happen to me—and anyone like me.\u003c/p>\n\u003cp>Oscar, you were a value in life and you are still a value. What happened to you galvanized the Town and black people around the nation. It ushered in a new era of resistance to state violence and drove home for a new generation the urgency of eradicating structural racism. I know this will never fill the hole left in your family’s heart, but you should know you did not die in vain.\u003c/p>\n\u003cp>Rest in Peace Brother.\u003c/p>\n\u003cp>\u003cem>—J. Turner, San Diego\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>They took you away just as you were bringing new life to yourself and your family. We fight for you in the hope that it never happens again.\u003c/p>\n\u003cp>\u003cem>—Semhar, California\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I live five minutes away from where you died, and when I’m on the same BART platform, I ask myself: What happens to all of that potential and energy? What about the communal grief and rage? When precious life is squandered, how much light and life and love is lost, do we lose our own humanity?\u003c/p>\n\u003cp>Your death sparked protests, activists in the streets, and continued through the grief and criminal trial, because your life matters. You are loved, you are missed, you will never be forgotten.\u003c/p>\n\u003cp>Rest In Peace, Oscar Grant.\u003c/p>\n\u003cp>\u003cem>—Kristy Higares, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>If I could tell you to stay home with your family, I would. If I could tell you to always watch out for your surroundings, I would. What I can’t tell you is that police brutality will end, because it won’t. What I can’t say is the color of your skin wasn’t your fault, because it was. This world has been so disgusting and I am sorry you had to get stuck in the middle of their stupidity and cowardliness.\u003c/p>\n\u003cp>Your family and friends stand by to keep you in our memories. Your life was worth more than to be taken away at a BART station for doing nothing. Your life was worth so much more than an object that those in a higher power feel they can control. You \u003cem>are\u003c/em> so much more, and your life and story will live on to show the oppression many of us people of color have to face.\u003c/p>\n\u003cp>\u003cem>—Jocelyn Alcala, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I want to tell you that you have one of the strongest mothers in the world. She nurtures other mothers and families that don’t know how to deal with losing their children and loved ones. She saves lives by witnessing and standing behind them in a time of need. She has started a basketball team, she gives scholarships, she does backpack drives, she travels on the regular to speak and hold seminars about violence. She has became an activist, and spokeswoman, and she is your voice.\u003c/p>\n\u003cp>One thing that I will say is that “I AM OSCAR GRANT.” Rest easy, baby boy. I never got a chance to meet you, but I know you. Forever Fruitvale Station.\u003c/p>\n\u003cp>\u003cem>—Lakisha Carmon, Stockton\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>It’s been 10 years. I went into labor that night. My daughter turns 10 on Jan. 2. I often ask myself: How was I bringing life into this world, when someone was stealing life from you?\u003c/p>\n\u003cp>You deserve to be here. I still drive down the streets of Oakland wondering who you would’ve become. The potential that left with you that night. The daughter who had to be told that daddy wasn’t coming home.\u003c/p>\n\u003cp>Your story is one that Oakland will never be able to hide. Oakland changed in a way we didn’t know was possible after your death. I want to say we grew stronger because of you. I want to say we see each other through different eyes because of you. I want to say that I’m sorry that your life ending had to be the thing to bring us closer together. What would Oakland look like through your eyes after these 10 years?\u003c/p>\n\u003cp>\u003cem>—Deema, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I first heard about you 10 years ago. I was only seven years old, but I still managed to understand the injustice that occurred to you. It’s something that horribly became common in our world, and it shouldn’t have.\u003c/p>\n\u003cp>You were a fellow member of our community in Oakland, a son, a father, an uncle, a friend, and so much in that day. Oscar Grant, you are someone that is greatly remembered, and you were able to open many people’s eyes. You opened my eyes. Don’t give up on us. Don’t give up on Oakland.\u003c/p>\n\u003cp>\u003cem>—Ariana Perfino, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>In 2009, I was living in Los Angeles, where I was born and raised, and working for a nonprofit downtown. In 2009, I was trying to figure out what I wanted to do with my life, thinking about getting a law degree or a masters in public policy.\u003c/p>\n\u003cp>In 2009, your life was taken. I felt so much sadness and outrage when I learned about what had happened to you, and when I watched the video of how you were treated. I felt so helpless. When the trial was moved to Los Angeles, I went to the courthouse to protest police brutality. It was how my grief manifested. It didn’t feel good enough.\u003c/p>\n\u003cp>Shortly after, I decided to apply for grad school. I wanted to be in Oakland. I didn’t know much about the Bay Area, I’d never lived anywhere but LA. But seeing how the community came together to expose the systemic issues that led to that event made me want to be in the Bay, even if it was only for two years.\u003c/p>\n\u003cp>Now, eight years later, I’m still in Oakland. I try my best to be a champion of equity, to be a positive change in my community. For four years, I rode BART from Fruitvale into San Francisco for work. I thought about you often and still do.\u003c/p>\n\u003cp>I wish I could tell you that lots has changed since 2009, but I think the challenges have only gotten greater. I write this to you only to let you know that you had a huge impact on my life. I hope one day we’ll be able to say what happened to you would never happen in this day and age.\u003c/p>\n\u003cp>\u003cem>—Susan, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>As an African American male myself, my grandmother used to always be afraid for me to go out on New Year’s Eve, the Fourth of July and other holidays. It used to always annoy me, and I remember when your tragic situation happened. It basically reaffirmed everything she was afraid of.\u003c/p>\n\u003cp>Every time I go by Fruitvale Station, I call it Grant Station in your honor.\u003c/p>\n\u003cp>Your life and your death taught me that you can die any day. What you do in life is not measured by how many years you live, it’s about the impact when you’re here. I feel bad, almost, for feeling bad for myself. The times when I’m down, the times when I’m sad, I think about those people who aren’t here today to live life, and I try to be appreciative of the fact of just living life.\u003c/p>\n\u003cp>I’m leaving this voicemail at 2:04am after a frustrating day, but I had to make a comment because life is fragile and the best way to handle it is by living it to the fullest every day. Rest in peace.\u003c/p>\n\u003cp>\u003cem>—Amechi, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I’m sorry that you had to be the one to open people’s eyes to police brutality. I was six when you passed away. I didn’t understand what had happened because I was so young, but growing up in Oakland, I heard your story and analyzed it. Your death caused many people from our community great pain and concerns about safety. Your death also brought people together to teach and show others about the issues between people of color and the police.\u003c/p>\n\u003cp>I am afraid of the police. I am afraid of being pulled over for a stop-and-frisk due to my racial identity. I am afraid of walking too fast down the street and being followed. Nothing has changed since you passed away. Young black men are still being killed by police. Your story made headlines and still, nothing has changed.\u003c/p>\n\u003cp>We don’t need any more Trayvon Martins or Eric Garners. We need more people standing up—not only for us, but for those that have died at the hands of white police without justice.\u003c/p>\n\u003cp>\u003cem>—Paula Ortiz, student at Arise High School, Oakland\u003c/em>\u003c/p>\n\u003chr />\n\u003cp>Dear Oscar Grant,\u003c/p>\n\u003cp>I didn’t know you personally, but we had mutual friends. For so many, your face was a picture of their son, a brother, someone’s father, a friend.\u003c/p>\n\u003cp>I’m not doing so good today, I’m struggling, actually. Every year on New Year’s Eve I remember where I was. I argued with my now ex-boyfriend, who didn’t want to go out because it wasn’t safe, because anything could happen. We went to bed early that night and woke up the next morning to the news of what would forever be recorded as the tragic last few moments of your life.\u003c/p>\n\u003cp>I’m struggling today because I’m alone, or more importantly I’m lonely; I go through bouts of crippling anxiety and depression that nobody knows about. I’m not suicidal, but I often evaluate my existence and wonder what I’m doing, where I’m going, and why I’m here. Today, for me, your life serves as a reminder: no matter how lonely or alone I feel, I’m alive. I’m alive and get to make the choice to live, a choice that you were not only denied but was forcibly taken from you.\u003c/p>\n\u003cp>I just want to thank you, Oscar Grant. Thank you for your contribution to society, to community, to culture, to life. Your impact on my life is a reason to get up today and live. I honestly can’t think of any more significant an impact, and for that I’m truly grateful.\u003c/p>\n\u003cp>Dear Oscar Grant, you may have saved my life.\u003c/p>\n\u003cp>\u003cem>—Anonymous, Pleasanton\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003c/div>\u003c/p>",
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"slug": "local-language-art-fabrication-studio-to-replace-vessel-gallery-in-oakland",
"title": "Local Language, Art Fabrication Studio, to Replace Vessel Gallery in Oakland",
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"headTitle": "Local Language, Art Fabrication Studio, to Replace Vessel Gallery in Oakland | KQED",
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"content": "\u003cp>Last month, Oakland’s Vessel Gallery shuttered after landlord Matthew Iglehart \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">declined to renew\u003c/a> the Oakland Art Murmur fixture’s lease, saying through his property management company that he wanted to take his buildings in “another direction”—a chilling message for his many other gallerist tenants on 25th Street.\u003c/p>\n\u003cp>Now, however, KQED has learned that Local Language, a commercial art fabrication studio located next door in another Iglehart property, will expand into the upstairs space previously occupied by Vessel.\u003c/p>\n\u003cp>Local Language proprietor Jordan Bunnell said he leased the space in October, shortly after Vessel proprietor Lonnie Lee learned of her imminent displacement, but that he’d been working with Reynolds & Brown, the management company representing Iglehart’s properties in the area, for months prior. [contextly_sidebar id=”k12f3nT4p6nq3DawK8nFaO932uiSDaRT”]\u003c/p>\n\u003cp>Bunnell said he regrets Vessel’s displacement, calling the gallery an “anchor,” but he’s relieved not to have to move Local Language altogether. “When we announced the expansion to our staff, one of the first things we said was losing a space like Vessel, the creative community really suffers,” he said. \u003c/p>\n\u003cp>Although Bunnell declined to detail the terms of his lease, Lee suspects the space’s transition from exhibition to commercial fabrication space reflects the owner’s desire to increase rental revenue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Iglehart didn’t respond to an interview request for this report, but he previously said in a statement to KQED that he remains “interested in supporting creative people and business in Oakland.” Lee received “courtesy” emails from both Bunnell and Reynolds & Brown about Local Language’s lease on Nov. 6.\u003c/p>\n\u003cp>“That was an interesting neighborly gesture,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13847084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-800x600.jpg\" alt=\"Vessel Gallery proprietor Lonnie Lee is seeking a new brick-and-mortar.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vessel Gallery proprietor Lonnie Lee is seeking a new brick-and-mortar. \u003ccite>(Courtesy Vessel Gallery )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bunnell moved to Oakland in 2009 and opened \u003ca href=\"https://www.locallanguageart.com/\">Local Language\u003c/a> in 2015, specializing in “curating art collections for corporate, hospitality, healthcare, and residential environments around the US & Canada.” Clients such as Marriott and Hyatt generally commission the company, which employs fabricators in Oakland and subcontracts with artists around the country, to create artwork for common areas and offices. (One project description in the “open call” section of Local Language’s website reads, “Hill country vibes meets tech / modern!”)\u003c/p>\n\u003cp>Local Language also has artist residency and exhibition programs underwritten by the commercial work, but Bunnell said the former Vessel space will be dedicated to fabrication. Asked about the appearance of his business seizing on or hastening Vessel’s ouster, Bunnell said he hasn’t encountered that criticism. \u003c/p>\n\u003cp>He added, “We’re definitely on the side of ‘losing art spaces is a bad thing.’” \u003c/p>\n\u003cp>Since leaving the former hayloft she originally leased and renovated in 2010, Lee has been searching for a new brick-and-mortar gallery while continuing to work with dozens of artists \u003ca href=\"https://www.vessel-gallery.com/\">Vessel\u003c/a> still represents. In her first week at her interim office, for example, Lee placed a work by Oakland artist Iris Polos, \u003cem>Narcissus, the Prince and the Frog\u003c/em>, in the permanent collection at Berkeley Art Museum & Pacific Film Archive. \u003c/p>\n\u003cfigure id=\"attachment_13843961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg\" alt=\"Lonnie Lee, director and curator at Vessel Gallery. Lee's landlord declined to renew the Oakland gallery's lease, citing a desire to take the building in a "different direction." \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Lee, director and curator at Vessel Gallery. Lee’s landlord declined to renew the Oakland gallery’s lease, citing a desire to take the building in a “different direction.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To find a new location, Lee is working with Oakland City Councilmember Lynette Gibson-McElhaney’s office as well Kelley Kahn, the city’s policy director for art spaces. Kahn is optimistic that incoming mixed-use developments in the neighborhood can accommodate displaced galleries and nonprofits. \u003c/p>\n\u003cp>“We will work hard to find them a new space in Oakland, connecting them with property owners and real-estate developers that see the value in making space for Oakland’s arts and culture,” Kahn said. \u003c/p>\n\u003cp>Beginning in 2014, Lee organized neighboring gallerists to pressure elected officials to formally recognize the Uptown Arts District, hoping the designation would begin fortifying its many cultural resources against rising rent and redevelopment. Oakland City Council eventually scuttled the resolution entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last founding Art Murmur participant, Rock Paper Scissors, closed its Telegraph Avenue gallery after a rent hike in 2015. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, Oakland’s Vessel Gallery shuttered after landlord Matthew Iglehart \u003ca href=\"https://www.kqed.org/arts/13843911/vessel-gallery-oakland-art-murmur-fixture-to-close-following-lease-termination\">declined to renew\u003c/a> the Oakland Art Murmur fixture’s lease, saying through his property management company that he wanted to take his buildings in “another direction”—a chilling message for his many other gallerist tenants on 25th Street.\u003c/p>\n\u003cp>Now, however, KQED has learned that Local Language, a commercial art fabrication studio located next door in another Iglehart property, will expand into the upstairs space previously occupied by Vessel.\u003c/p>\n\u003cp>Local Language proprietor Jordan Bunnell said he leased the space in October, shortly after Vessel proprietor Lonnie Lee learned of her imminent displacement, but that he’d been working with Reynolds & Brown, the management company representing Iglehart’s properties in the area, for months prior. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Bunnell said he regrets Vessel’s displacement, calling the gallery an “anchor,” but he’s relieved not to have to move Local Language altogether. “When we announced the expansion to our staff, one of the first things we said was losing a space like Vessel, the creative community really suffers,” he said. \u003c/p>\n\u003cp>Although Bunnell declined to detail the terms of his lease, Lee suspects the space’s transition from exhibition to commercial fabrication space reflects the owner’s desire to increase rental revenue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Iglehart didn’t respond to an interview request for this report, but he previously said in a statement to KQED that he remains “interested in supporting creative people and business in Oakland.” Lee received “courtesy” emails from both Bunnell and Reynolds & Brown about Local Language’s lease on Nov. 6.\u003c/p>\n\u003cp>“That was an interesting neighborly gesture,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13847084\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-800x600.jpg\" alt=\"Vessel Gallery proprietor Lonnie Lee is seeking a new brick-and-mortar.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13847084\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Vessel-gallery-empty-by-Lonnie-Lee.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vessel Gallery proprietor Lonnie Lee is seeking a new brick-and-mortar. \u003ccite>(Courtesy Vessel Gallery )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bunnell moved to Oakland in 2009 and opened \u003ca href=\"https://www.locallanguageart.com/\">Local Language\u003c/a> in 2015, specializing in “curating art collections for corporate, hospitality, healthcare, and residential environments around the US & Canada.” Clients such as Marriott and Hyatt generally commission the company, which employs fabricators in Oakland and subcontracts with artists around the country, to create artwork for common areas and offices. (One project description in the “open call” section of Local Language’s website reads, “Hill country vibes meets tech / modern!”)\u003c/p>\n\u003cp>Local Language also has artist residency and exhibition programs underwritten by the commercial work, but Bunnell said the former Vessel space will be dedicated to fabrication. Asked about the appearance of his business seizing on or hastening Vessel’s ouster, Bunnell said he hasn’t encountered that criticism. \u003c/p>\n\u003cp>He added, “We’re definitely on the side of ‘losing art spaces is a bad thing.’” \u003c/p>\n\u003cp>Since leaving the former hayloft she originally leased and renovated in 2010, Lee has been searching for a new brick-and-mortar gallery while continuing to work with dozens of artists \u003ca href=\"https://www.vessel-gallery.com/\">Vessel\u003c/a> still represents. In her first week at her interim office, for example, Lee placed a work by Oakland artist Iris Polos, \u003cem>Narcissus, the Prince and the Frog\u003c/em>, in the permanent collection at Berkeley Art Museum & Pacific Film Archive. \u003c/p>\n\u003cfigure id=\"attachment_13843961\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg\" alt=\"Lonnie Lee, director and curator at Vessel Gallery. Lee's landlord declined to renew the Oakland gallery's lease, citing a desire to take the building in a "different direction." \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13843961\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/Vessel.Lee_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lonnie Lee, director and curator at Vessel Gallery. Lee’s landlord declined to renew the Oakland gallery’s lease, citing a desire to take the building in a “different direction.” \u003ccite>(Sam Lefebvre/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To find a new location, Lee is working with Oakland City Councilmember Lynette Gibson-McElhaney’s office as well Kelley Kahn, the city’s policy director for art spaces. Kahn is optimistic that incoming mixed-use developments in the neighborhood can accommodate displaced galleries and nonprofits. \u003c/p>\n\u003cp>“We will work hard to find them a new space in Oakland, connecting them with property owners and real-estate developers that see the value in making space for Oakland’s arts and culture,” Kahn said. \u003c/p>\n\u003cp>Beginning in 2014, Lee organized neighboring gallerists to pressure elected officials to formally recognize the Uptown Arts District, hoping the designation would begin fortifying its many cultural resources against rising rent and redevelopment. Oakland City Council eventually scuttled the resolution entirely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The last founding Art Murmur participant, Rock Paper Scissors, closed its Telegraph Avenue gallery after a rent hike in 2015. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'The Conference of the Birds' Fails to Soar in Oakland",
"headTitle": "‘The Conference of the Birds’ Fails to Soar in Oakland | KQED",
"content": "\u003cp>The literary kinship between poetry and plays has led to many significant works: the choruses of the ancient Greeks, Shakespeare’s iambic pentameter, T.S. Eliot’s verse drama and the numerous contemporary stagings of the poetry of Walt Whitman (including those performed locally by John O’Keefe and Ryan Hayes).\u003c/p>\n\u003cp>In \u003cem>The Conference of the Birds\u003c/em>, a co-production between Inferno Theatre and Ubuntu Theater Project, a 4,800+ line Sufi epic has been adapted for the stage by Sholeh Wolpé, whose well-regarded English translation of the poem was published last year by W.W. Norton & Co. First written circa 1187 A.D. by Persian pharmacist-poet Farid ud-Din Attar, \u003cem>The Conference of the Birds\u003c/em> is a dissertation on Sufi mysticism in rhymed couplets, using birds as metaphors for the fickle human spirit.\u003c/p>\n\u003cfigure id=\"attachment_13846240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846240 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ali-Moosa Mirza, Saira Kaur Mangat, Omar Osoria-Pena, and Jane Eisner are birds of a feather in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gathering of birds sets out to find the kingdom of the mysterious Simorgh, whom they have unanimously agreed should be their ruler. Led by the level-headed Hoopoe (Ashley Jaye), they begin their long journey, traveling across seven valleys and numerous other obstacles. Along the way, as the birds begin to doubt their quest, the Hoopoe encourages them along with a patter of parable. Like Scheherazade, she of the 1,000 stories, the Hoopoe doesn’t lack for tales to tell, which are simultaneously acted out by members of the ensemble. Purpose-driven moths, princesses and commoners, poets and prophets—all come to brief life in a flurry of costume-changes and satin scarves.\u003c/p>\n\u003cfigure id=\"attachment_13846243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846243\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Brazier, Danie Citlali Valdivieso, and Jane Eisner perform an allegory in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not performing as a character in an allegory, each of the cast embodies a different bird, some more convincingly than others. Sarah Brazier’s Parrot walks with a humorously exaggerated pigeon-toe. Jane Eisner’s Goldfinch is quick on its feet and in the air. Omar Osaria-Pena’s Osprey is proud and reserved. Jaye’s Hoopoe cocks its head and bobs affirmations as it delivers another story to a recalcitrant comrade. Attar (Joshua-Morris Williams), the poet, intersperses the action with his own observations and platitudes, and musician/composer Amir Etemadzadeh scores the momentum with a variety of traditional instruments.\u003c/p>\n\u003cp>But what the production is missing is a strong central vision to guide the birds to their metaphorical destination. Not only are these birds capricious and unruly, but they also appear to lack a strong interior sense of self. Oftentimes the only true signal we have that an actor is in “bird” mode is when they are wearing their masks (beautifully designed by Annie Hallatt). Though the Hoopoe tries its best to impart wisdom though tangent, its stories begin to blur into each other, the message of each disappearing in a muddle of mugging almost as soon as it emerges. This lack of intentionality and rhythm leaves these birds traveling in circles without much solid ground to land on, rendering the purposefulness of their quest to a flight of fancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the program, Wolpé speaks of contemporizing the poem, and adding comic vignettes to the play’s humor which, under the direction of Giulio Cesare Perrone, frequently falls flat. Wolpé has also dispensed with the original structure of rhymed couplets, opting instead for less stylized prose, which, in play form, is less lyrical and more workaday than you might expect from an 800 year-old poem. Despite the possibilities hinted at by the soaring octagonal ceiling and rug-strewn hardwood floor of the performance space in the Brooklyn Preserve, much of the action is staged conventionally, rarely even facing the half of the audience sitting along the far stage left side of the room. This further turns what could be a profound experiment into something disappointingly superficial.\u003c/p>\n\u003cfigure id=\"attachment_13846241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A nightingale looks inside himself. Ali-Moosa Mirza in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not easy to stage—let alone describe—a spiritual quest, and much of the lush imagery of Attar’s original manuscript does shimmer throughout the production, despite its limitations. And when the birds are revealed at the end to be the embodiment of the purpose they seek, discovering the divine within themselves just as they’ve given up all hope of being granted an audience with it, there is a moment of genuine realization. It may come too late in the evening for it to salvage the entire experience—but at least it gives the poem, if not the play, a stronger sense of significance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Conference of the Birds’ runs through Dec. 16 at Brooklyn Preserve. \u003ca href=\"http://www.ubuntutheaterproject.com/birds/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The literary kinship between poetry and plays has led to many significant works: the choruses of the ancient Greeks, Shakespeare’s iambic pentameter, T.S. Eliot’s verse drama and the numerous contemporary stagings of the poetry of Walt Whitman (including those performed locally by John O’Keefe and Ryan Hayes).\u003c/p>\n\u003cp>In \u003cem>The Conference of the Birds\u003c/em>, a co-production between Inferno Theatre and Ubuntu Theater Project, a 4,800+ line Sufi epic has been adapted for the stage by Sholeh Wolpé, whose well-regarded English translation of the poem was published last year by W.W. Norton & Co. First written circa 1187 A.D. by Persian pharmacist-poet Farid ud-Din Attar, \u003cem>The Conference of the Birds\u003c/em> is a dissertation on Sufi mysticism in rhymed couplets, using birds as metaphors for the fickle human spirit.\u003c/p>\n\u003cfigure id=\"attachment_13846240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13846240 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_SairaKaurMangat_OmarOsoria-Pena_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ali-Moosa Mirza, Saira Kaur Mangat, Omar Osoria-Pena, and Jane Eisner are birds of a feather in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A gathering of birds sets out to find the kingdom of the mysterious Simorgh, whom they have unanimously agreed should be their ruler. Led by the level-headed Hoopoe (Ashley Jaye), they begin their long journey, traveling across seven valleys and numerous other obstacles. Along the way, as the birds begin to doubt their quest, the Hoopoe encourages them along with a patter of parable. Like Scheherazade, she of the 1,000 stories, the Hoopoe doesn’t lack for tales to tell, which are simultaneously acted out by members of the ensemble. Purpose-driven moths, princesses and commoners, poets and prophets—all come to brief life in a flurry of costume-changes and satin scarves.\u003c/p>\n\u003cfigure id=\"attachment_13846243\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846243\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_SarahBrazier_DanieCitlaliValdivieso_JaneEisner_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sarah Brazier, Danie Citlali Valdivieso, and Jane Eisner perform an allegory in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When not performing as a character in an allegory, each of the cast embodies a different bird, some more convincingly than others. Sarah Brazier’s Parrot walks with a humorously exaggerated pigeon-toe. Jane Eisner’s Goldfinch is quick on its feet and in the air. Omar Osaria-Pena’s Osprey is proud and reserved. Jaye’s Hoopoe cocks its head and bobs affirmations as it delivers another story to a recalcitrant comrade. Attar (Joshua-Morris Williams), the poet, intersperses the action with his own observations and platitudes, and musician/composer Amir Etemadzadeh scores the momentum with a variety of traditional instruments.\u003c/p>\n\u003cp>But what the production is missing is a strong central vision to guide the birds to their metaphorical destination. Not only are these birds capricious and unruly, but they also appear to lack a strong interior sense of self. Oftentimes the only true signal we have that an actor is in “bird” mode is when they are wearing their masks (beautifully designed by Annie Hallatt). Though the Hoopoe tries its best to impart wisdom though tangent, its stories begin to blur into each other, the message of each disappearing in a muddle of mugging almost as soon as it emerges. This lack of intentionality and rhythm leaves these birds traveling in circles without much solid ground to land on, rendering the purposefulness of their quest to a flight of fancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the program, Wolpé speaks of contemporizing the poem, and adding comic vignettes to the play’s humor which, under the direction of Giulio Cesare Perrone, frequently falls flat. Wolpé has also dispensed with the original structure of rhymed couplets, opting instead for less stylized prose, which, in play form, is less lyrical and more workaday than you might expect from an 800 year-old poem. Despite the possibilities hinted at by the soaring octagonal ceiling and rug-strewn hardwood floor of the performance space in the Brooklyn Preserve, much of the action is staged conventionally, rarely even facing the half of the audience sitting along the far stage left side of the room. This further turns what could be a profound experiment into something disappointingly superficial.\u003c/p>\n\u003cfigure id=\"attachment_13846241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/Conference_Ali-MoosaMirza_credit_SimoneFinney.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A nightingale looks inside himself. Ali-Moosa Mirza in ‘The Conference of the Birds.’ \u003ccite>(Simone Finney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not easy to stage—let alone describe—a spiritual quest, and much of the lush imagery of Attar’s original manuscript does shimmer throughout the production, despite its limitations. And when the birds are revealed at the end to be the embodiment of the purpose they seek, discovering the divine within themselves just as they’ve given up all hope of being granted an audience with it, there is a moment of genuine realization. It may come too late in the evening for it to salvage the entire experience—but at least it gives the poem, if not the play, a stronger sense of significance.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Conference of the Birds’ runs through Dec. 16 at Brooklyn Preserve. \u003ca href=\"http://www.ubuntutheaterproject.com/birds/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Ian Kelly and the Role of the Bay Area Expatriate",
"headTitle": "Ian Kelly and the Role of the Bay Area Expatriate | 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> few days ago Ian Kelly texted me.\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>“Bruh I actually wanted to pick your brain about this,” he wrote. “So I got signed to Jamla Records, a label \u003ca href=\"https://twitter.com/jamlarecords?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">started\u003c/a> by 9th Wonder, and have been featured on \u003ca href=\"https://www.amazon.com/9th-Wonder-Presents-Jamla-Explicit/dp/B07KBCLHWM\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> with the likes of Cole and Busta Rhymes. Why do you think back home doesn’t show as much love?”\u003c/p>\n\u003cp>A valid question from someone who came up in the Bay and recently moved away. He followed up to clarify. “Also I’m not speaking from a tone of entitlement,” he texted. “I’m very much understanding I could be doing something wrong too.”\u003c/p>\n\u003cp>It got me thinking about the dichotomy of the rap game. On one hand, a major part of hip-hop is representing where you’re from—of course, along with representing it, you have to \u003cem>actually\u003c/em> be there. On the other hand, as an artist, you \u003cem>have\u003c/em> to get out and see the world in order for the world to see you.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How can you do both?\u003c/p>\n\u003cfigure id=\"attachment_13846180\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg\" alt=\"Cover art for Ian Kelly's Champian album ( by Anshil Popli)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Ian Kelly’s ‘ChampIan’ album. (Anshil Popli and Daniel Lint)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Dec. 7, Ian Kelly drops his album, \u003cem>ChampIan\u003c/em>, his first for Jamla Records. It’s also his first project since he relocated to North Carolina 18 months ago.\u003c/p>\n\u003cp>I remember when Ian told me he was going to move, and how his mother didn’t necessarily approve of him quitting his job and pursuing a rap career. I knew he’d be OK. I mean, I’ve known Kelly for over a decade, and I’ve seen him go (and grow) through a number of transitions.\u003c/p>\n\u003cp>When our common friend Aaron Harris passed in 2013, Kelly hit a low and then grew from that; only for Kelly’s father to pass the same year. Nonetheless, he persevered and continued to make music, often honoring their memory in his lyrics.\u003c/p>\n\u003cp>Hell, I was even there when Kelly learned to maneuver through Howard University’s campus in 2008. I was a resident assistant in the dorm where he resided, but he never really needed much assistance.\u003c/p>\n\u003cp>Kelly, who turns 29 on Dec. 4, is a natural sponge, and he has no problem regurgitating necessary information in story form. His ability to describe situations and paint pictures has always been his strongpoint, evident throughout \u003cem>ChampIan\u003c/em>. The song ‘Story Tellin’ is probably the best example, allowing the listener to stare at the speaker and be fully engulfed in a tale of dubious deeds. On another track called ‘Better,’ he takes his storytelling to the world of romance, showing his versatility.\u003c/p>\n\u003cp>Kelly’s only downfall is that he kind of sounds like this guy named Kendrick Lamar. But if you’re going to be compared to anyone, why not him, right?\u003c/p>\n\u003cp>I don’t know if it’s the Kendrick comparison or what, but Kelly didn’t see his rap career flourishing out here. So he took a leap of faith and ended up under the tutelage of producer \u003ca href=\"https://en.wikipedia.org/wiki/9th_Wonder\" target=\"_blank\" rel=\"noopener noreferrer\">9th Wonder\u003c/a>, Rapsody and Oakland’s GQ while living in North Carolina.\u003c/p>\n\u003cp>“Honestly, being out here it kind of helped me gain a peace of mind,” Kelly told me. “Back home, I feel like a lot of things go on and I feel like I lose focus. But being out here I was able to center myself, and grow as an artist.”\u003c/p>\n\u003cp>I could relate to finding clarity in new spaces. The same thing happened for me when I went away to college at Howard in D.C. Or even in high school, when I lived in Danville for a semester while attending the Athenian boarding school. I fell deeper in love with writing. I gained focus and confidence. I mean, I had bad case of FOMO, and I really missed Oakland. Damn, now that I think about it, I missed a lot of things while I was away.\u003c/p>\n\u003cp>I asked Kelly if he’d experienced any setbacks being away from the Town.\u003c/p>\n\u003cp>“A month ago or two months ago, I’d say yeah. But now, I see it as another stepping stone,” Kelly said. “The way you have to move as an artist: wherever my heart is, is really home.”\u003c/p>\n\u003cp>I sat with that comment. It brought to mind all the other artists I know who’ve relocated, been sent to prison for long periods of time, moved away for family reasons, or left because they couldn’t afford rent. I even thought about the artists who are constantly on the road, sharing their art with the world. Don’t they miss home?\u003c/p>\n\u003cfigure id=\"attachment_13846178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg\" alt=\"Ian Kelly posted up (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly posted up. (Anshil Popli)\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>neesa Strings, who Kelly introduced me to earlier this year, is \u003ca href=\"http://www.aneesastrings.com\" target=\"_blank\" rel=\"noopener noreferrer\">a bassist and vocalist\u003c/a> who grew up in Oakland. She was a part of a band that played NPR’s \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\">Tiny Desk Concert\u003c/a> with Ill Camille earlier this year. And she’s currently on a European tour with Duckwrth.\u003c/p>\n\u003cp>Somewhere between Switzerland and Vienna, she responded to my inquiry about an artists’ need to travel. “Most people have to leave the comforts of their own hometown to get nationwide recognition,” she said. She then paraphrased the Book of Matthew: “A hero isn’t without honor except for in his own country, in his own home.”\u003c/p>\n\u003cp>She ended by writing, “The Bay isn’t any different, except that it’s not LA or NY, which are entertainment capitals of the world. You have to leave the Bay to have access to the star-makers. Music is a worldwide territory, so if an artist wants their music to go all over the world, so do they.”\u003c/p>\n\u003cp>That’s kind of what well-known tour manager Tim House said when I called him to ask how an artist should balance time spent at home versus being out in the world.\u003c/p>\n\u003cp>“Infrastructure, that’s what’s missing in the Bay,” House told me as he was on tour, somewhere between Orlando and Miami. “I can’t tell you how many people from the Bay in the industry—not just artists—have moved to LA or New York for work.”\u003c/p>\n\u003cp>House, who’s bounced back and forth between the LA and the Bay his whole life, made sure to mention that there are some examples of people building their own infrastructure here in the Bay—namely E-40. “But even E-40 went to school in the South,” House said.\u003c/p>\n\u003cp>Along with the lack of industry infrastructure, another major variable artists consider before leaving the Bay is the cost of housing.\u003c/p>\n\u003cp>“Music money will only get you so much in the Bay Area,” House told me. “You can get a nice spot in LA, but still be 30 minutes outside of downtown. You could get something nice in New York, but you wouldn’t have a yard. In Atlanta, you could get a really nice house with a moat!”\u003c/p>\n\u003cp>After a slight laugh, House brought up a serious point I hadn’t considered: the vacancies created by artists leaving the Bay Area to seek greener pastures create an opportunity for others to move in and dictate the culture.\u003c/p>\n\u003cp>And I’ve seen it. I could name a bunch of artists who’ve moved here, and have found a way to flourish on a local scale. Not a good or bad thing in my opinion, it’s just a thing to note.\u003c/p>\n\u003cp>Nonetheless, the question remains: How do you go and chase your dream, while still holding it down for the home team?\u003c/p>\n\u003cfigure id=\"attachment_13846179\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg\" alt=\"Ian Kelly in the Town (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly in the Town. (Anshil Popli) \u003ccite>(Anshil Popli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here are so many rap lyrics that address this issue:\u003c/p>\n\u003cp>“I’m hardly home, but always repping,” said Drake.\u003c/p>\n\u003cp>“They said I couldn’t go back home, you know when I heard that? When I was back home,” said Jay-Z.\u003c/p>\n\u003cp>“I heard it’s not where you from, but where you pay rent/ then I heard it’s not how much you make, but how much you spent/ you got me bent, like elbows,” said Big Boi of Outkast.\u003c/p>\n\u003cp>The debate isn’t new. And I don’t think there’s a real answer. There’s no way to be two places at once. But Ian Kelly might’ve been on to something when he said, \u003cem>“The way you have to move as an artist: wherever my heart is, is really home.”\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> few days ago Ian Kelly texted me.\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>“Bruh I actually wanted to pick your brain about this,” he wrote. “So I got signed to Jamla Records, a label \u003ca href=\"https://twitter.com/jamlarecords?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">started\u003c/a> by 9th Wonder, and have been featured on \u003ca href=\"https://www.amazon.com/9th-Wonder-Presents-Jamla-Explicit/dp/B07KBCLHWM\" target=\"_blank\" rel=\"noopener noreferrer\">an album\u003c/a> with the likes of Cole and Busta Rhymes. Why do you think back home doesn’t show as much love?”\u003c/p>\n\u003cp>A valid question from someone who came up in the Bay and recently moved away. He followed up to clarify. “Also I’m not speaking from a tone of entitlement,” he texted. “I’m very much understanding I could be doing something wrong too.”\u003c/p>\n\u003cp>It got me thinking about the dichotomy of the rap game. On one hand, a major part of hip-hop is representing where you’re from—of course, along with representing it, you have to \u003cem>actually\u003c/em> be there. On the other hand, as an artist, you \u003cem>have\u003c/em> to get out and see the world in order for the world to see you.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How can you do both?\u003c/p>\n\u003cfigure id=\"attachment_13846180\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg\" alt=\"Cover art for Ian Kelly's Champian album ( by Anshil Popli)\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7859.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover art for Ian Kelly’s ‘ChampIan’ album. (Anshil Popli and Daniel Lint)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Dec. 7, Ian Kelly drops his album, \u003cem>ChampIan\u003c/em>, his first for Jamla Records. It’s also his first project since he relocated to North Carolina 18 months ago.\u003c/p>\n\u003cp>I remember when Ian told me he was going to move, and how his mother didn’t necessarily approve of him quitting his job and pursuing a rap career. I knew he’d be OK. I mean, I’ve known Kelly for over a decade, and I’ve seen him go (and grow) through a number of transitions.\u003c/p>\n\u003cp>When our common friend Aaron Harris passed in 2013, Kelly hit a low and then grew from that; only for Kelly’s father to pass the same year. Nonetheless, he persevered and continued to make music, often honoring their memory in his lyrics.\u003c/p>\n\u003cp>Hell, I was even there when Kelly learned to maneuver through Howard University’s campus in 2008. I was a resident assistant in the dorm where he resided, but he never really needed much assistance.\u003c/p>\n\u003cp>Kelly, who turns 29 on Dec. 4, is a natural sponge, and he has no problem regurgitating necessary information in story form. His ability to describe situations and paint pictures has always been his strongpoint, evident throughout \u003cem>ChampIan\u003c/em>. The song ‘Story Tellin’ is probably the best example, allowing the listener to stare at the speaker and be fully engulfed in a tale of dubious deeds. On another track called ‘Better,’ he takes his storytelling to the world of romance, showing his versatility.\u003c/p>\n\u003cp>Kelly’s only downfall is that he kind of sounds like this guy named Kendrick Lamar. But if you’re going to be compared to anyone, why not him, right?\u003c/p>\n\u003cp>I don’t know if it’s the Kendrick comparison or what, but Kelly didn’t see his rap career flourishing out here. So he took a leap of faith and ended up under the tutelage of producer \u003ca href=\"https://en.wikipedia.org/wiki/9th_Wonder\" target=\"_blank\" rel=\"noopener noreferrer\">9th Wonder\u003c/a>, Rapsody and Oakland’s GQ while living in North Carolina.\u003c/p>\n\u003cp>“Honestly, being out here it kind of helped me gain a peace of mind,” Kelly told me. “Back home, I feel like a lot of things go on and I feel like I lose focus. But being out here I was able to center myself, and grow as an artist.”\u003c/p>\n\u003cp>I could relate to finding clarity in new spaces. The same thing happened for me when I went away to college at Howard in D.C. Or even in high school, when I lived in Danville for a semester while attending the Athenian boarding school. I fell deeper in love with writing. I gained focus and confidence. I mean, I had bad case of FOMO, and I really missed Oakland. Damn, now that I think about it, I missed a lot of things while I was away.\u003c/p>\n\u003cp>I asked Kelly if he’d experienced any setbacks being away from the Town.\u003c/p>\n\u003cp>“A month ago or two months ago, I’d say yeah. But now, I see it as another stepping stone,” Kelly said. “The way you have to move as an artist: wherever my heart is, is really home.”\u003c/p>\n\u003cp>I sat with that comment. It brought to mind all the other artists I know who’ve relocated, been sent to prison for long periods of time, moved away for family reasons, or left because they couldn’t afford rent. I even thought about the artists who are constantly on the road, sharing their art with the world. Don’t they miss home?\u003c/p>\n\u003cfigure id=\"attachment_13846178\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846178\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg\" alt=\"Ian Kelly posted up (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7865.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly posted up. (Anshil Popli)\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>neesa Strings, who Kelly introduced me to earlier this year, is \u003ca href=\"http://www.aneesastrings.com\" target=\"_blank\" rel=\"noopener noreferrer\">a bassist and vocalist\u003c/a> who grew up in Oakland. She was a part of a band that played NPR’s \u003ca href=\"https://www.youtube.com/watch?v=OXPfeg09IOE\">Tiny Desk Concert\u003c/a> with Ill Camille earlier this year. And she’s currently on a European tour with Duckwrth.\u003c/p>\n\u003cp>Somewhere between Switzerland and Vienna, she responded to my inquiry about an artists’ need to travel. “Most people have to leave the comforts of their own hometown to get nationwide recognition,” she said. She then paraphrased the Book of Matthew: “A hero isn’t without honor except for in his own country, in his own home.”\u003c/p>\n\u003cp>She ended by writing, “The Bay isn’t any different, except that it’s not LA or NY, which are entertainment capitals of the world. You have to leave the Bay to have access to the star-makers. Music is a worldwide territory, so if an artist wants their music to go all over the world, so do they.”\u003c/p>\n\u003cp>That’s kind of what well-known tour manager Tim House said when I called him to ask how an artist should balance time spent at home versus being out in the world.\u003c/p>\n\u003cp>“Infrastructure, that’s what’s missing in the Bay,” House told me as he was on tour, somewhere between Orlando and Miami. “I can’t tell you how many people from the Bay in the industry—not just artists—have moved to LA or New York for work.”\u003c/p>\n\u003cp>House, who’s bounced back and forth between the LA and the Bay his whole life, made sure to mention that there are some examples of people building their own infrastructure here in the Bay—namely E-40. “But even E-40 went to school in the South,” House said.\u003c/p>\n\u003cp>Along with the lack of industry infrastructure, another major variable artists consider before leaving the Bay is the cost of housing.\u003c/p>\n\u003cp>“Music money will only get you so much in the Bay Area,” House told me. “You can get a nice spot in LA, but still be 30 minutes outside of downtown. You could get something nice in New York, but you wouldn’t have a yard. In Atlanta, you could get a really nice house with a moat!”\u003c/p>\n\u003cp>After a slight laugh, House brought up a serious point I hadn’t considered: the vacancies created by artists leaving the Bay Area to seek greener pastures create an opportunity for others to move in and dictate the culture.\u003c/p>\n\u003cp>And I’ve seen it. I could name a bunch of artists who’ve moved here, and have found a way to flourish on a local scale. Not a good or bad thing in my opinion, it’s just a thing to note.\u003c/p>\n\u003cp>Nonetheless, the question remains: How do you go and chase your dream, while still holding it down for the home team?\u003c/p>\n\u003cfigure id=\"attachment_13846179\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13846179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg\" alt=\"Ian Kelly in the Town (photo by Anshil Popli)\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/IMG_7867.jpg 1334w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ian Kelly in the Town. (Anshil Popli) \u003ccite>(Anshil Popli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here are so many rap lyrics that address this issue:\u003c/p>\n\u003cp>“I’m hardly home, but always repping,” said Drake.\u003c/p>\n\u003cp>“They said I couldn’t go back home, you know when I heard that? When I was back home,” said Jay-Z.\u003c/p>\n\u003cp>“I heard it’s not where you from, but where you pay rent/ then I heard it’s not how much you make, but how much you spent/ you got me bent, like elbows,” said Big Boi of Outkast.\u003c/p>\n\u003cp>The debate isn’t new. And I don’t think there’s a real answer. There’s no way to be two places at once. But Ian Kelly might’ve been on to something when he said, \u003cem>“The way you have to move as an artist: wherever my heart is, is really home.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jenine Marsh’s Train-Pressed Coins Define the Value of the Small Gestures",
"headTitle": "Jenine Marsh’s Train-Pressed Coins Define the Value of the Small Gestures | KQED",
"content": "\u003cp>A freight train barrels down the tracks and artist Jenine Marsh sits and waits. She waits first for the deep vibrations. Then she waits for the sounds that come all at once—of crashing cars and wheels—and for the rush of heat and air the train unleashes. \u003c/p>\n\u003cp>Marsh is waiting, usually in a rail yard near her Toronto studio, for another sound, an extra noise, \u003ca href=\"http://www.jeninemarsh.com/Jenine%20Marsh%20-%20coins%20and%20tokens.pdf\" rel=\"noopener\" target=\"_blank\">she calls it\u003c/a>, of metal on metal, as the wheels roll mercilessly over the line of coins she’s placed along the tracks. Pennies, dimes, loonies and toonies scatter into the surrounding dirt and detritus, and Marsh goes in search of the flattened coins, now deformed, defaced and smooth.\u003c/p>\n\u003cp>Train-pressed coins have been a hobby for Marsh since childhood and a recurring element of her work since 2015. They are present—or strongly evoked—in every aspect of her solo exhibition at Oakland’s Interface Gallery, \u003cem>a room at the center of the world surrounded by the noise of men\u003c/em>, on view through Saturday, Dec. 2. \u003c/p>\n\u003cfigure id=\"attachment_13845760\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'a room at the center of the world surrounded by the noise of men,' exhibition view, Interface, Oakland.\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13845760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-520x371.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘a room at the center of the world surrounded by the noise of men,’ exhibition view, Interface, Oakland. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seven works in the installation operate on shifting registers of heft and human hand but share materials and metaphors—coins, fingers and fists, cement, solder, soil—revealing Marsh’s deeper questions about exchange and value. These questions exist within a system defined by constraints and that, like \u003ca href=\"https://en.wikipedia.org/wiki/Fiat_money\" rel=\"noopener\" target=\"_blank\">fiat currency\u003c/a>, is predetermined, empty—a system with seemingly little hope for intervention.\u003c/p>\n\u003cp>Interface is small and Marsh’s work fills the space in two ways. Some pieces assert their place (bold, inscrutable sculptures on the floor of the gallery, to be carefully walked around) while others insinuate (thin and small objects made of wire, faint but thoroughly dispersed across the back wall and a nearby skylight). \u003c/p>\n\u003cfigure id=\"attachment_13845761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'the trespass' detail, 2018; Found metal rings, concrete, soil, California wildflower seeds, train-flattened coins of mixed currencies, found American penny, wire, lead acid-core solder, powdered pigment.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13845761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘the trespass’ detail, 2018; Found metal rings, concrete, soil, California wildflower seeds, train-flattened coins of mixed currencies, found American penny, wire, lead acid-core solder, powdered pigment. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A work titled \u003cem>the trespass\u003c/em> is the former: five, 18-inch, found metal hoops lay flat in a line, filled with cement mixed with soil and wildflower seeds (a doctored guerrilla-gardening seed bomb recipe), and scattered with train-pressed coins, more soil and gravely bits. Each hoop is linked to the next by more cement spilling over the rims; the cement is furrowed, ridged and pitted, like the imprints of hands or paws or claws on an industrial wasteland. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>More hands emerge elsewhere. In \u003cem>contortion (steel)\u003c/em> and \u003cem>contortion (silver)\u003c/em>, a few curled fingers and some knuckles—the artist’s, cast in cement—grip the edges of similar metal hoops and rust-stained silk shirts. A single, fully-formed fist is suspended in the middle of one wall, its clenched fingers face the center of the room (titled \u003cem>fist in pocket\u003c/em>). Fabric and bungee cords cupped around the heel of the hand make a little pouch, a DIY coin purse.\u003c/p>\n\u003cfigure id=\"attachment_13845758\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'fist in pocket' detail, 2018; Rust-stained shoulder-pads, necklace cord, bungee cord, staples, wire, powdered pigment, gypsum cement, steel hardware.\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13845758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-1020x728.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘fist in pocket’ detail, 2018; Rust-stained shoulder-pads, necklace cord, bungee cord, staples, wire, powdered pigment, gypsum cement, steel hardware. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most compelling image Marsh creates, however, doesn’t hang in the gallery; it’s the slightness of space she conjures, the slimmest, nearly nonexistent gap in which to insert oneself, to slip material into and test the limits of legibility or reform the edges of value. It is the space between the train wheels and tracks where the coins are flattened; it is the crevices between mortar and brick in which those coins are then slotted (\u003cem>coins and tokens\u003c/em>). It is the cracks between fingers, through which wet cement squeezes, leaving traces of body and touch. \u003c/p>\n\u003cp>Marsh’s uncanny, elegiac floor sculptures are hopefully liminal; it’s not a missing person signaled in the bounds of \u003cem>contortion\u003c/em> but one yet to arrive. Such a view is not a matter of perspective but of potential, and the power of claiming space. Spare change becomes raw material and concrete fecund. The crushing forces that be—of capitalism, of patriarchy, or any otherwise headlong, hurtling object—are met by the artist’s patience and a small bump, an extra noise.\u003c/p>\n\u003cfigure id=\"attachment_13845759\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'contortion (steel),' 2018; Found metal ring, rust-stained blouse, train-flattened and drilled coins of mixed currencies, wire, gypsum cement, powdered pigment.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13845759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘contortion (steel),’ 2018; Found metal ring, rust-stained blouse, train-flattened and drilled coins of mixed currencies, wire, gypsum cement, powdered pigment. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s title is a line from author and critic Claudia La Rocco’s \u003cem>two-page collection\u003c/em>, a text written for the exhibition, informed by though not about Marsh’s work. [La Rocco was one of my professors at the School of Visual Arts in 2015.] It marks the start of a new series at Interface wherein exhibitions are paired with newly commissioned work from Bay Area writers, presented together but viewed as independent and meant to complement one another. \u003c/p>\n\u003cp>La Rocco’s text is a collection of 46 sentences and sentence fragments—some new, some lifted from her previous writing—each printed individually on strips of paper and presented in an envelope. It’s a poem and a collage to be ordered by the reader, shaped, paced and read differently each time. Persistent elements of the text are awe at a watery world and the omnipresence of geology; voyage and metamorphosis; the sensation of touch; and an oscillation between the ominous and the expansive. The changing resonances and constant unfolding make it feel like reading a fortune.\u003c/p>\n\u003cfigure id=\"attachment_13845766\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'coins and tokens,' 2015-18; Open series of train-pressed coins and tokens of mixed currencies.\" width=\"1200\" height=\"787\" class=\"size-full wp-image-13845766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘coins and tokens,’ 2015-18; Open series of train-pressed coins and tokens of mixed currencies. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both artists reshape found materials, wrestle with inherited structures of power and expression and consider what might be important about an imprint left on a surface. At Interface, both Marsh and La Rocco convey how value might be embodied and how it is ultimately ecological. What kind of marks are left on the landscape and on one another, by words, by fingers, by machines, by shifting rocks, by plants, by train tracks, by industry, by barriers, by boundaries? This is the rate of exchange still left to rectify.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘a room at the center of the world surrounded by the noise of men’ is on view at Interface Gallery through Dec. 2, 2018. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A freight train barrels down the tracks and artist Jenine Marsh sits and waits. She waits first for the deep vibrations. Then she waits for the sounds that come all at once—of crashing cars and wheels—and for the rush of heat and air the train unleashes. \u003c/p>\n\u003cp>Marsh is waiting, usually in a rail yard near her Toronto studio, for another sound, an extra noise, \u003ca href=\"http://www.jeninemarsh.com/Jenine%20Marsh%20-%20coins%20and%20tokens.pdf\" rel=\"noopener\" target=\"_blank\">she calls it\u003c/a>, of metal on metal, as the wheels roll mercilessly over the line of coins she’s placed along the tracks. Pennies, dimes, loonies and toonies scatter into the surrounding dirt and detritus, and Marsh goes in search of the flattened coins, now deformed, defaced and smooth.\u003c/p>\n\u003cp>Train-pressed coins have been a hobby for Marsh since childhood and a recurring element of her work since 2015. They are present—or strongly evoked—in every aspect of her solo exhibition at Oakland’s Interface Gallery, \u003cem>a room at the center of the world surrounded by the noise of men\u003c/em>, on view through Saturday, Dec. 2. \u003c/p>\n\u003cfigure id=\"attachment_13845760\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'a room at the center of the world surrounded by the noise of men,' exhibition view, Interface, Oakland.\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13845760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-1020x728.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/07_Marsh_Interface_1200-520x371.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘a room at the center of the world surrounded by the noise of men,’ exhibition view, Interface, Oakland. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The seven works in the installation operate on shifting registers of heft and human hand but share materials and metaphors—coins, fingers and fists, cement, solder, soil—revealing Marsh’s deeper questions about exchange and value. These questions exist within a system defined by constraints and that, like \u003ca href=\"https://en.wikipedia.org/wiki/Fiat_money\" rel=\"noopener\" target=\"_blank\">fiat currency\u003c/a>, is predetermined, empty—a system with seemingly little hope for intervention.\u003c/p>\n\u003cp>Interface is small and Marsh’s work fills the space in two ways. Some pieces assert their place (bold, inscrutable sculptures on the floor of the gallery, to be carefully walked around) while others insinuate (thin and small objects made of wire, faint but thoroughly dispersed across the back wall and a nearby skylight). \u003c/p>\n\u003cfigure id=\"attachment_13845761\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'the trespass' detail, 2018; Found metal rings, concrete, soil, California wildflower seeds, train-flattened coins of mixed currencies, found American penny, wire, lead acid-core solder, powdered pigment.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13845761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/12_Marsh_Interface_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘the trespass’ detail, 2018; Found metal rings, concrete, soil, California wildflower seeds, train-flattened coins of mixed currencies, found American penny, wire, lead acid-core solder, powdered pigment. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A work titled \u003cem>the trespass\u003c/em> is the former: five, 18-inch, found metal hoops lay flat in a line, filled with cement mixed with soil and wildflower seeds (a doctored guerrilla-gardening seed bomb recipe), and scattered with train-pressed coins, more soil and gravely bits. Each hoop is linked to the next by more cement spilling over the rims; the cement is furrowed, ridged and pitted, like the imprints of hands or paws or claws on an industrial wasteland. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>More hands emerge elsewhere. In \u003cem>contortion (steel)\u003c/em> and \u003cem>contortion (silver)\u003c/em>, a few curled fingers and some knuckles—the artist’s, cast in cement—grip the edges of similar metal hoops and rust-stained silk shirts. A single, fully-formed fist is suspended in the middle of one wall, its clenched fingers face the center of the room (titled \u003cem>fist in pocket\u003c/em>). Fabric and bungee cords cupped around the heel of the hand make a little pouch, a DIY coin purse.\u003c/p>\n\u003cfigure id=\"attachment_13845758\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'fist in pocket' detail, 2018; Rust-stained shoulder-pads, necklace cord, bungee cord, staples, wire, powdered pigment, gypsum cement, steel hardware.\" width=\"1200\" height=\"857\" class=\"size-full wp-image-13845758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/03_Marsh_Interface_1200-1020x728.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘fist in pocket’ detail, 2018; Rust-stained shoulder-pads, necklace cord, bungee cord, staples, wire, powdered pigment, gypsum cement, steel hardware. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most compelling image Marsh creates, however, doesn’t hang in the gallery; it’s the slightness of space she conjures, the slimmest, nearly nonexistent gap in which to insert oneself, to slip material into and test the limits of legibility or reform the edges of value. It is the space between the train wheels and tracks where the coins are flattened; it is the crevices between mortar and brick in which those coins are then slotted (\u003cem>coins and tokens\u003c/em>). It is the cracks between fingers, through which wet cement squeezes, leaving traces of body and touch. \u003c/p>\n\u003cp>Marsh’s uncanny, elegiac floor sculptures are hopefully liminal; it’s not a missing person signaled in the bounds of \u003cem>contortion\u003c/em> but one yet to arrive. Such a view is not a matter of perspective but of potential, and the power of claiming space. Spare change becomes raw material and concrete fecund. The crushing forces that be—of capitalism, of patriarchy, or any otherwise headlong, hurtling object—are met by the artist’s patience and a small bump, an extra noise.\u003c/p>\n\u003cfigure id=\"attachment_13845759\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'contortion (steel),' 2018; Found metal ring, rust-stained blouse, train-flattened and drilled coins of mixed currencies, wire, gypsum cement, powdered pigment.\" width=\"1200\" height=\"801\" class=\"size-full wp-image-13845759\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/04_Marsh_Interface_1200-1020x681.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘contortion (steel),’ 2018; Found metal ring, rust-stained blouse, train-flattened and drilled coins of mixed currencies, wire, gypsum cement, powdered pigment. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The show’s title is a line from author and critic Claudia La Rocco’s \u003cem>two-page collection\u003c/em>, a text written for the exhibition, informed by though not about Marsh’s work. [La Rocco was one of my professors at the School of Visual Arts in 2015.] It marks the start of a new series at Interface wherein exhibitions are paired with newly commissioned work from Bay Area writers, presented together but viewed as independent and meant to complement one another. \u003c/p>\n\u003cp>La Rocco’s text is a collection of 46 sentences and sentence fragments—some new, some lifted from her previous writing—each printed individually on strips of paper and presented in an envelope. It’s a poem and a collage to be ordered by the reader, shaped, paced and read differently each time. Persistent elements of the text are awe at a watery world and the omnipresence of geology; voyage and metamorphosis; the sensation of touch; and an oscillation between the ominous and the expansive. The changing resonances and constant unfolding make it feel like reading a fortune.\u003c/p>\n\u003cfigure id=\"attachment_13845766\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200.jpg\" alt=\"Jenine Marsh, 'coins and tokens,' 2015-18; Open series of train-pressed coins and tokens of mixed currencies.\" width=\"1200\" height=\"787\" class=\"size-full wp-image-13845766\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-800x525.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-768x504.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-1020x669.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-1180x774.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-960x630.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/27_Marsh_Interface_1200-520x341.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jenine Marsh, ‘coins and tokens,’ 2015-18; Open series of train-pressed coins and tokens of mixed currencies. \u003ccite>(Photo by Hasain Rasheed; Courtesy of the artist and Interface, Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Both artists reshape found materials, wrestle with inherited structures of power and expression and consider what might be important about an imprint left on a surface. At Interface, both Marsh and La Rocco convey how value might be embodied and how it is ultimately ecological. What kind of marks are left on the landscape and on one another, by words, by fingers, by machines, by shifting rocks, by plants, by train tracks, by industry, by barriers, by boundaries? This is the rate of exchange still left to rectify.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>‘a room at the center of the world surrounded by the noise of men’ is on view at Interface Gallery through Dec. 2, 2018. \u003ca href=\"http://www.interfaceartgallery.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Carrie Cleveland's Recipe for Longevity",
"headTitle": "Carrie Cleveland’s Recipe for Longevity | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’ve been trying to wrap my mind around what East Oakland must’ve been like in the 1970s: the decline of the Black Panther Party, the disbandment of the Brown Berets, the rise of crack cocaine. The decade between the Chevrolet factory’s closure in the late 1960s and the rise of Felix Mitchell’s drug empire in the early 1980s. When E. 14th Street earned its name as the prostitution stroll I’d come to know as “E-ONE-FOE,” and films like \u003cem>The Mack\u003c/em> depicted aspects of that lifestyle.\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>As many escaped the horrors of war in countries like Vietnam, Cambodia, El Salvador and Panama, others celebrated. The A’s won championships from ’72-’74. The Warriors won one in ’75. And the Raiders did their thing in ’77.\u003c/p>\n\u003cp>And in 1978, in a garage studio near the CP Bannon Mortuary on E. 14th in East Oakland, a young woman born in Shreveport, LA recorded songs about love that would be released on record in small quantities and nearly lost to history.\u003c/p>\n\u003cfigure id=\"attachment_13845382\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-9-800x535.jpg\" alt=\"Carrie Cleveland's "Looking Up" album (photo by Pendarvis Harshaw)\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland’s ‘Looking Up’ album, reissued this year. (Photo by Pendarvis Harshaw)\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>orty years later, hearing Carrie Cleveland’s album \u003cem>Looking Up\u003c/em> is special, like discovering a box of intimate love letters. In fact, that’s exactly what it is: love-laden songs adapted from the lyrical letters her husband Bill Cleveland penned, with Carrie’s beautiful vocals singing over Bill’s arrangements on songs like “Make Love to Me,” “I Need Love” and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the duo pressed and cut 1,000 copies of the record themselves, they had no idea that 40 years later, original copies of that album would sell for over $300 on this thing called the internet. I bet it would’ve blown their minds smooth out of their afros if they knew that a young woman from Europe would garner \u003ca href=\"https://www.youtube.com/watch?v=VRcp64Tptp0\">half a million views\u003c/a> on this thing called YouTube by dancing to the sound of the Clevelands’ immortal love.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=G5-_J-N_BBk\u003c/p>\n\u003cp>Part of me wishes I could jump into an old photo of the Clevelands and tell them to never stop recording, because their art is valuable—so valuable, one day people like 24-year-old Chris Webb would aggressively seek their record.\u003c/p>\n\u003cp>“I had been trying to find Carrie for two years, with no success,” Chris told me during an early morning phone call from England. “I wasn’t sure if she was still alive.”\u003c/p>\n\u003cp>But then he saw an online seller advertising original copies of \u003cem>Looking Up\u003c/em>—who said they got them from Carrie herself.\u003c/p>\n\u003cp>After finding that one lead, Webb said, it didn’t take long for the ball to start rolling. “I got a phone call two weeks later from her son, Heston.”\u003c/p>\n\u003cfigure id=\"attachment_13845388\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-6-800x535.jpg\" alt=\"Carrie Cleveland and son Heston at Carrie's home (photo by Pendarvis Harshaw)\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland and son Heston at Carrie’s home (photo by Pendarvis Harshaw)\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\">W\u003c/span>hen I visited Carrie Cleveland at her home, Heston greeted me at the front door and welcomed me in. There she was: hair laid, nails done, jewelry sparkling, sitting at the head of the dining room table like royalty should. No sooner then I sat down did she get up to bring me two homemade teacakes.\u003c/p>\n\u003cp>While she was in the kitchen, Heston told me about discovering how popular his mom’s music was on the internet. “People online were selling copies and making money,” he said, “and I was like, ‘Mom, this is your money!’”\u003c/p>\n\u003cp>Heston knew a few things about the music business—he used to DJ for Oakland rapper Askari X—so he took an original copy of the album to a record store.\u003c/p>\n\u003cp>“I’ve been looking for your mom for years. I thought she was dead,” the shop owner told Heston. (That’s when Carrie, who had come back to the table with the teacakes, intervened and said, “That made me feel real bad.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-x1WMclqbMk\u003c/p>\n\u003cp>Heston then connected with Chris Webb, sending him old photos, flyers and biographical information for Webb’s company, Kalita Records, to reissue Carrie Cleveland’s album. \u003cem>Looking Up\u003c/em> was \u003ca href=\"https://kalitarecords.bandcamp.com/album/looking-up-the-complete-works\">officially re-released\u003c/a> in September of this year.\u003c/p>\n\u003cp>When Heston and Carrie got a copy of the album’s liner notes back from Webb, they were both moved. “I’m reading it to her, and she started crying,” Heston told me, as I nibbled away on the first teacake. “And before I could ask why she was crying, \u003cem>I\u003c/em> started crying, because it was like my dad is still here.”\u003c/p>\n\u003cfigure id=\"attachment_13845383\" class=\"wp-caption alignnone\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Carrie-Bill.png\" alt=\"Carrie & Bill (Courtesy of Carrie Cleveland)\" width=\"383\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Carrie-Bill.png 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Carrie-Bill-160x229.png 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Carrie & Bill Cleveland. (Courtesy of Carrie Cleveland)\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>ill Cleveland, who wrote and arranged Carrie’s music—Heston referred to him as the Prince of the duo—died in March of 1994. Heston told me, “Now that I hear the music more and more, I can see him.”\u003c/p>\n\u003cp>Carrie followed by telling me that she hadn’t listened to the songs in a very long time, so listening now made the songs feel as if they were new.\u003c/p>\n\u003cp>“You have to listen to the words,” Carrie said, as I finished the first teacake, washed it down with a sip of Gatorade, and started on the second one. “The words are so beautiful. Now, I think about how he wrote some really, really good songs. It’s like, is he connecting with us? The feeling and everything is really…”—she paused to search for the word—“\u003cem>good\u003c/em>.”\u003c/p>\n\u003cp>“Make Love To Me,” her most popular track by YouTube standards, is an uptempo, feel-good soul-disco track with a simple hook: “Make love to me, come on,” sung in a high pitch. It’s the type of track hip-hop artists like Dipset or Just Blaze would have sampled during the throwback-jersey era. The seductive lyrics—“You’ve got a way about you that turns me on / Don’t waste my time, come on / Make love to me”—flow like honey over the groove-heavy backing.\u003c/p>\n\u003cfigure id=\"attachment_13845384\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-5-1-800x535.jpg\" alt=\"Liner Notes from Carrie Cleveland's "Looking up" album\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liner Notes from Carrie Cleveland’s ‘Looking Up’ album.\u003c/figcaption>\u003c/figure>\n\u003cp>Cleveland’s other songs have a similar feel, although “Love Will Set You Free” is in a much lower pitch. They’re all smoky lounge tunes, and that’s just where she performed them back in the day.\u003c/p>\n\u003cp>“We played what we called ‘holes in the wall,’” Carrie said. “Do they have a lot of those anymore?”\u003c/p>\n\u003cp>I had to let her know things had changed; a lot of classic Bay Area music venues had shut down, some of them just this year.\u003c/p>\n\u003cp>I dusted the teacake crumbs off of my hands, and then flipped through a photo book to see images of Carrie, Bill and the band performing at those long-lost venues. Places like the old Holiday Inn in Emeryville and the Pasand Lounge in Berkeley. She told me about performing in the 1980s on Mare Island in Vallejo, up in Grass Valley and even as far as Reno.\u003c/p>\n\u003cp>“We used to sing at HS Lordships on Sunday evenings, that was a \u003cem>long\u003c/em> time ago,” she said as we continued to flip through the photos. Carrie identified images of former band members, sometimes only by the instrument they used to play.\u003c/p>\n\u003cp>“I’m sure all of them are gone,” she said, “because we don’t hear from them anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13845385\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-2-2-800x600.jpg\" alt=\"Carrie Cleveland and the band (photo by Pendarvis Harshaw)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2.jpg 1869w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland and band. (Photo by Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne image of Carrie in particular caught my eye, of her posing on the gazebo near Lake Merritt. I knew that structure from my childhood, and from when the Festival at The Lake was held over there. I asked Carrie about it. “I was trying to be Diana Ross,” she said with a laugh. “My husband and I went to the park, to Lake Merritt. We just hung out, took pictures and that was it.”\u003c/p>\n\u003cfigure id=\"attachment_13845386\" class=\"wp-caption alignnone\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Poster.png\" alt=\"A poster of one of Carrie Cleveland's performances (courtesy of Carrie Cleveland)\" width=\"403\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Poster.png 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Poster-160x247.png 160w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">A poster of one of Carrie Cleveland’s performances. (Courtesy of Carrie Cleveland)\u003c/figcaption>\u003c/figure>\n\u003cp>When Bill passed, Carrie continued to sing. “Even when he died, I still kept jobs,” Carrie told me, noting that she made sure to finish the shows they already had scheduled. But eventually things fell apart. “A lot of men didn’t respect a female bandleader,” Carrie said. And so she put down her dreams of singing and found work as a housekeeper at Children’s Hospital in Oakland, eventually becoming an X-ray assistant.\u003c/p>\n\u003cp>Now that her records are back in rotation, she tells me she doesn’t fully know what to expect—but she’s back to singing in the shower, and that’s a good sign. Heston is in talks with her about performing again.\u003c/p>\n\u003cp>But, for now, Carrie focuses her creative energy on food. Before I left, I let her know the teacakes she made were delicious. She quickly gave me a ZipLoc bag full of them, and told me to put them in the freezer. And, when I have an appetite for one or two, to take them out and let them defrost—they’ll be good forever.\u003c/p>\n\u003cp>I wonder how they’ll taste in forty years.\u003c/p>\n\u003cp>[ad floatright]\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\n",
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"excerpt": "The Oakland singer's 1970s music was nearly lost to history. Fans thought she was dead. Then a British record label called.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’ve been trying to wrap my mind around what East Oakland must’ve been like in the 1970s: the decline of the Black Panther Party, the disbandment of the Brown Berets, the rise of crack cocaine. The decade between the Chevrolet factory’s closure in the late 1960s and the rise of Felix Mitchell’s drug empire in the early 1980s. When E. 14th Street earned its name as the prostitution stroll I’d come to know as “E-ONE-FOE,” and films like \u003cem>The Mack\u003c/em> depicted aspects of that lifestyle.\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>As many escaped the horrors of war in countries like Vietnam, Cambodia, El Salvador and Panama, others celebrated. The A’s won championships from ’72-’74. The Warriors won one in ’75. And the Raiders did their thing in ’77.\u003c/p>\n\u003cp>And in 1978, in a garage studio near the CP Bannon Mortuary on E. 14th in East Oakland, a young woman born in Shreveport, LA recorded songs about love that would be released on record in small quantities and nearly lost to history.\u003c/p>\n\u003cfigure id=\"attachment_13845382\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845382\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-9-800x535.jpg\" alt=\"Carrie Cleveland's "Looking Up" album (photo by Pendarvis Harshaw)\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-9.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland’s ‘Looking Up’ album, reissued this year. (Photo by Pendarvis Harshaw)\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>orty years later, hearing Carrie Cleveland’s album \u003cem>Looking Up\u003c/em> is special, like discovering a box of intimate love letters. In fact, that’s exactly what it is: love-laden songs adapted from the lyrical letters her husband Bill Cleveland penned, with Carrie’s beautiful vocals singing over Bill’s arrangements on songs like “Make Love to Me,” “I Need Love” and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When the duo pressed and cut 1,000 copies of the record themselves, they had no idea that 40 years later, original copies of that album would sell for over $300 on this thing called the internet. I bet it would’ve blown their minds smooth out of their afros if they knew that a young woman from Europe would garner \u003ca href=\"https://www.youtube.com/watch?v=VRcp64Tptp0\">half a million views\u003c/a> on this thing called YouTube by dancing to the sound of the Clevelands’ immortal love.\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/G5-_J-N_BBk'\n title='//www.youtube.com/embed/G5-_J-N_BBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Part of me wishes I could jump into an old photo of the Clevelands and tell them to never stop recording, because their art is valuable—so valuable, one day people like 24-year-old Chris Webb would aggressively seek their record.\u003c/p>\n\u003cp>“I had been trying to find Carrie for two years, with no success,” Chris told me during an early morning phone call from England. “I wasn’t sure if she was still alive.”\u003c/p>\n\u003cp>But then he saw an online seller advertising original copies of \u003cem>Looking Up\u003c/em>—who said they got them from Carrie herself.\u003c/p>\n\u003cp>After finding that one lead, Webb said, it didn’t take long for the ball to start rolling. “I got a phone call two weeks later from her son, Heston.”\u003c/p>\n\u003cfigure id=\"attachment_13845388\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845388\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-6-800x535.jpg\" alt=\"Carrie Cleveland and son Heston at Carrie's home (photo by Pendarvis Harshaw)\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-6.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland and son Heston at Carrie’s home (photo by Pendarvis Harshaw)\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\">W\u003c/span>hen I visited Carrie Cleveland at her home, Heston greeted me at the front door and welcomed me in. There she was: hair laid, nails done, jewelry sparkling, sitting at the head of the dining room table like royalty should. No sooner then I sat down did she get up to bring me two homemade teacakes.\u003c/p>\n\u003cp>While she was in the kitchen, Heston told me about discovering how popular his mom’s music was on the internet. “People online were selling copies and making money,” he said, “and I was like, ‘Mom, this is your money!’”\u003c/p>\n\u003cp>Heston knew a few things about the music business—he used to DJ for Oakland rapper Askari X—so he took an original copy of the album to a record store.\u003c/p>\n\u003cp>“I’ve been looking for your mom for years. I thought she was dead,” the shop owner told Heston. (That’s when Carrie, who had come back to the table with the teacakes, intervened and said, “That made me feel real bad.”)\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/-x1WMclqbMk'\n title='//www.youtube.com/embed/-x1WMclqbMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Heston then connected with Chris Webb, sending him old photos, flyers and biographical information for Webb’s company, Kalita Records, to reissue Carrie Cleveland’s album. \u003cem>Looking Up\u003c/em> was \u003ca href=\"https://kalitarecords.bandcamp.com/album/looking-up-the-complete-works\">officially re-released\u003c/a> in September of this year.\u003c/p>\n\u003cp>When Heston and Carrie got a copy of the album’s liner notes back from Webb, they were both moved. “I’m reading it to her, and she started crying,” Heston told me, as I nibbled away on the first teacake. “And before I could ask why she was crying, \u003cem>I\u003c/em> started crying, because it was like my dad is still here.”\u003c/p>\n\u003cfigure id=\"attachment_13845383\" class=\"wp-caption alignnone\" style=\"max-width: 383px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845383\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Carrie-Bill.png\" alt=\"Carrie & Bill (Courtesy of Carrie Cleveland)\" width=\"383\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Carrie-Bill.png 383w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Carrie-Bill-160x229.png 160w\" sizes=\"(max-width: 383px) 100vw, 383px\">\u003cfigcaption class=\"wp-caption-text\">Carrie & Bill Cleveland. (Courtesy of Carrie Cleveland)\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>ill Cleveland, who wrote and arranged Carrie’s music—Heston referred to him as the Prince of the duo—died in March of 1994. Heston told me, “Now that I hear the music more and more, I can see him.”\u003c/p>\n\u003cp>Carrie followed by telling me that she hadn’t listened to the songs in a very long time, so listening now made the songs feel as if they were new.\u003c/p>\n\u003cp>“You have to listen to the words,” Carrie said, as I finished the first teacake, washed it down with a sip of Gatorade, and started on the second one. “The words are so beautiful. Now, I think about how he wrote some really, really good songs. It’s like, is he connecting with us? The feeling and everything is really…”—she paused to search for the word—“\u003cem>good\u003c/em>.”\u003c/p>\n\u003cp>“Make Love To Me,” her most popular track by YouTube standards, is an uptempo, feel-good soul-disco track with a simple hook: “Make love to me, come on,” sung in a high pitch. It’s the type of track hip-hop artists like Dipset or Just Blaze would have sampled during the throwback-jersey era. The seductive lyrics—“You’ve got a way about you that turns me on / Don’t waste my time, come on / Make love to me”—flow like honey over the groove-heavy backing.\u003c/p>\n\u003cfigure id=\"attachment_13845384\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845384\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-5-1-800x535.jpg\" alt=\"Liner Notes from Carrie Cleveland's "Looking up" album\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-5-1.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Liner Notes from Carrie Cleveland’s ‘Looking Up’ album.\u003c/figcaption>\u003c/figure>\n\u003cp>Cleveland’s other songs have a similar feel, although “Love Will Set You Free” is in a much lower pitch. They’re all smoky lounge tunes, and that’s just where she performed them back in the day.\u003c/p>\n\u003cp>“We played what we called ‘holes in the wall,’” Carrie said. “Do they have a lot of those anymore?”\u003c/p>\n\u003cp>I had to let her know things had changed; a lot of classic Bay Area music venues had shut down, some of them just this year.\u003c/p>\n\u003cp>I dusted the teacake crumbs off of my hands, and then flipped through a photo book to see images of Carrie, Bill and the band performing at those long-lost venues. Places like the old Holiday Inn in Emeryville and the Pasand Lounge in Berkeley. She told me about performing in the 1980s on Mare Island in Vallejo, up in Grass Valley and even as far as Reno.\u003c/p>\n\u003cp>“We used to sing at HS Lordships on Sunday evenings, that was a \u003cem>long\u003c/em> time ago,” she said as we continued to flip through the photos. Carrie identified images of former band members, sometimes only by the instrument they used to play.\u003c/p>\n\u003cp>“I’m sure all of them are gone,” she said, “because we don’t hear from them anymore.”\u003c/p>\n\u003cfigure id=\"attachment_13845385\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13845385\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/0-2-2-800x600.jpg\" alt=\"Carrie Cleveland and the band (photo by Pendarvis Harshaw)\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/0-2-2.jpg 1869w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Carrie Cleveland and band. (Photo by Pendarvis Harshaw)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne image of Carrie in particular caught my eye, of her posing on the gazebo near Lake Merritt. I knew that structure from my childhood, and from when the Festival at The Lake was held over there. I asked Carrie about it. “I was trying to be Diana Ross,” she said with a laugh. “My husband and I went to the park, to Lake Merritt. We just hung out, took pictures and that was it.”\u003c/p>\n\u003cfigure id=\"attachment_13845386\" class=\"wp-caption alignnone\" style=\"max-width: 403px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13845386\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/Poster.png\" alt=\"A poster of one of Carrie Cleveland's performances (courtesy of Carrie Cleveland)\" width=\"403\" height=\"621\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Poster.png 403w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/Poster-160x247.png 160w\" sizes=\"(max-width: 403px) 100vw, 403px\">\u003cfigcaption class=\"wp-caption-text\">A poster of one of Carrie Cleveland’s performances. (Courtesy of Carrie Cleveland)\u003c/figcaption>\u003c/figure>\n\u003cp>When Bill passed, Carrie continued to sing. “Even when he died, I still kept jobs,” Carrie told me, noting that she made sure to finish the shows they already had scheduled. But eventually things fell apart. “A lot of men didn’t respect a female bandleader,” Carrie said. And so she put down her dreams of singing and found work as a housekeeper at Children’s Hospital in Oakland, eventually becoming an X-ray assistant.\u003c/p>\n\u003cp>Now that her records are back in rotation, she tells me she doesn’t fully know what to expect—but she’s back to singing in the shower, and that’s a good sign. Heston is in talks with her about performing again.\u003c/p>\n\u003cp>But, for now, Carrie focuses her creative energy on food. Before I left, I let her know the teacakes she made were delicious. She quickly gave me a ZipLoc bag full of them, and told me to put them in the freezer. And, when I have an appetite for one or two, to take them out and let them defrost—they’ll be good forever.\u003c/p>\n\u003cp>I wonder how they’ll taste in forty years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a>‘s free-association raps sound like the artist’s neurons are firing at 100 miles per hour. Full of quirky humor and out-there metaphors, his funky, psychedelic new album \u003cem>Calibration of an Altered Mind \u003c/em>dropped last week on Nov. 9. It’s the cult Oakland artist’s first release since his \u003ca href=\"https://www.spin.com/2015/01/monster-rally-jay-stone-foreign-pedestrians-album-of-the-week/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> 2015 project with Monster Rally, \u003cem>Foreign Pedestrians\u003c/em>. To celebrate, Stone performs at \u003ca href=\"https://legionnairesaloon.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>, an experimental, D.I.Y. hip-hop party at the Legionnaire Saloon in Oakland on Nov. 17.[contextly_sidebar id=”vVzBdsVm2ZqkekuflCofgx0SqzFnrKYH”]\u003c/p>\n\u003cp>At a time when lyrical hip-hop (in the traditional sense) seems to be going out of style, Stone is an artist who pays close attention to the craft of rhyming. But that’s not to say he’s overly self-serious, like those who consider themselves among the “last real MCs” tend to be—quite the opposite, actually. His playful verses attest to the elasticity and imaginative possibilities of rhythm and language. [contextly_sidebar id=”IyPFMgiHSCt0CSBqrmzElUL9SuNyOket”]\u003c/p>\n\u003cp>Queens D.Light, Stone’s partner who released her own excellent album, \u003cem>Flavor of Green\u003c/em>, earlier this year, is featured extensively on \u003cem>Calibration of an Altered Mind\u003c/em>. She performs with Stone at Smart Bomb, along with Heru, Demahjiae and DJ Richlo. Details \u003ca href=\"https://www.instagram.com/p/BqNfiLUBDWz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3265979296/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://soundcloud.com/enotsyaj\" target=\"_blank\" rel=\"noopener\">Jay Stone\u003c/a>‘s free-association raps sound like the artist’s neurons are firing at 100 miles per hour. Full of quirky humor and out-there metaphors, his funky, psychedelic new album \u003cem>Calibration of an Altered Mind \u003c/em>dropped last week on Nov. 9. It’s the cult Oakland artist’s first release since his \u003ca href=\"https://www.spin.com/2015/01/monster-rally-jay-stone-foreign-pedestrians-album-of-the-week/\" target=\"_blank\" rel=\"noopener\">critically acclaimed\u003c/a> 2015 project with Monster Rally, \u003cem>Foreign Pedestrians\u003c/em>. To celebrate, Stone performs at \u003ca href=\"https://legionnairesaloon.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>, an experimental, D.I.Y. hip-hop party at the Legionnaire Saloon in Oakland on Nov. 17.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At a time when lyrical hip-hop (in the traditional sense) seems to be going out of style, Stone is an artist who pays close attention to the craft of rhyming. But that’s not to say he’s overly self-serious, like those who consider themselves among the “last real MCs” tend to be—quite the opposite, actually. His playful verses attest to the elasticity and imaginative possibilities of rhythm and language. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Queens D.Light, Stone’s partner who released her own excellent album, \u003cem>Flavor of Green\u003c/em>, earlier this year, is featured extensively on \u003cem>Calibration of an Altered Mind\u003c/em>. She performs with Stone at Smart Bomb, along with Heru, Demahjiae and DJ Richlo. Details \u003ca href=\"https://www.instagram.com/p/BqNfiLUBDWz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3265979296/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
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"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.",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"meta": {
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"source": "WNYC"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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"imageURL": "https://cdn.kqed.org/wp-content/uploads/2026/10/Nav-News-Nov2026ElectionCoverage@2x-7bd4aad4.png",
"description": "Get informed in minutes with our Voter Guide for California’s November 3 election."
},
"podcasts-radio": {},
"video-tv": {},
"events": {},
"support": {}
}
}
}
