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"content": "\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" target=\"_blank\" rel=\"noopener\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, painting and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>For many, the phrase “landscape art” evokes paintings of rolling hills and photographs of desert horizons. But these are two-dimensional renderings of three-dimensional spaces, spaces replete with sounds, scents and textures. For interdisciplinary artist \u003ca href=\"https://www.torreya.info/\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>, such flattening is counterintuitive; landscapes are multisensory terrains meant to be explored.\u003c/p>\n\u003cp>“I spent a lot of time outside as a kid,” Cummings says of her rural upbringing in the Central Valley. “Landscape has never seemed like a static thing. It’s an environment that you’re in, and it’s complex. You’re not just looking at it, you’re experiencing and interacting with it.”\u003c/p>\n\u003cfigure id=\"attachment_13841060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg\" alt=\"Erasing the hard lines separating "urban" and "rural" in Cummings' Oakland studio.\" width=\"1200\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-520x374.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erasing the hard lines separating “urban” and “rural” in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This attitude helps explain the artist’s multidimensional work, which tends to invite viewers to enter a temporary site, whether a built environment or a site-specific performance. In a sense, she creates experiences for people to roam through like a real landscape, though on a much smaller scale than a forest or field.\u003c/p>\n\u003cp>A recent multimedia installation commissioned by and on view at \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> for just under two years (it closed at the end of April 2018) encapsulated that approach. In \u003cem>Notes from ‘Camp’: AKA Transdimensional Ghost Town Discotheque\u003c/em>, the three-dimensional environment married a desert-town-inspired shanty with a (frankly) fabulous iridescent interior. Videos of shimmering crystals, streams and fish played to the sounds of 1970s disco.\u003c/p>\n\u003cfigure id=\"attachment_13840776\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13840776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg\" alt=\"Detail of the interior of Torreya Cumming's 'Notes From "Camp": AKA Transdimensional Ghost Town Discotheque', 2016-18 at the Oakland Museum of California.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162.jpg 1500w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the interior of Torreya Cumming’s ‘Notes From “Camp”: AKA Transdimensional Ghost Town Discotheque’, 2016-18 at the Oakland Museum of California. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work provided a way for Cummings to play out her curiosity about the supposed opposites of “rural” and “urban” spaces, \u003ca href=\"https://www.torreya.info/Notes-From-Camp\" target=\"_blank\" rel=\"noopener\">partially inspired\u003c/a> by \u003ca href=\"https://en.wikipedia.org/wiki/Notes_on_%22Camp%22\" target=\"_blank\" rel=\"noopener\">a foundational 1964 text\u003c/a> written by theorist Susan Sontag that discussed the concepts behind “camp,” an attitude expressing a penchant for kitchy, over-the-top aesthetics. Sontag poses “natural” in strict opposition to camp’s connection to the “urban” and to “artifice”—two notions firmly associated with modern queerness, as is camp itself.\u003c/p>\n\u003cp>Cummings’ sparkling hut is a spirited, if ambivalent, rejoinder to the essay; the installation not only allows contradictions to coexist, it seemingly celebrates them all. The installation also made tangible the perspective of a queer person who has traversed both rural and urban realms and felt, in both, equally valid senses of belonging and detachment.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cfigure id=\"attachment_13841061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, finding queer belonging in rural areas appears improbable—like Sontag’s stark contrast may be altogether too accurate in real life. It’s true that urban centers often offer safe(r)-havens for the LGBTQ community (though this safety remains relative to race, class, ability and other forms of privilege). At the very least they enable social connections that are harder to come by in rural areas. And San Francisco, Oakland and the broader Bay Area boast a well-established queer history, where traditions of socializing through nightlife and bar or club culture run deep.\u003c/p>\n\u003cfigure id=\"attachment_13840779\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg\" alt=\"Torreya Cummings, 'Hard Rocks, The West is known for nothing if not for its hospitality,' 2014.\" width=\"720\" height=\"1079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-520x779.jpg 520w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Hard Rocks, The West is known for nothing if not for its hospitality,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this area, where avant-garde drag is the norm and there is often greater understanding of gender diversity, Cummings says, “It feels like… whatever I am, I’m not the only one. And not just now, but historically: there is a place carved out for a sort of miscellaneous queer existence, and that is part of the reason this place feels like home for me.”\u003c/p>\n\u003cp>Nonetheless, Cummings has experienced her own internal push-and-pull of rural familiarity and urban connection. Having grown up in the small community of Sloughhouse before moving to Davis, San Francisco and, later, Oakland, she says that for a while, she felt torn between regions. “When I was in the country, I was like, ‘Get me out of here!’ And then when I was in the city, I was like, ‘Actually, I miss that other place,’” she says.\u003c/p>\n\u003cp>But, as the many layers of \u003ci>Notes from ‘Camp’\u003c/i> demonstrate, the artist is interested in letting “at-odds” elements exist in tandem. “The power of artmaking is that you can have contradiction,” Cummings says. “You can have ambivalence and you can have multiple meanings existing in one place.”\u003c/p>\n\u003cp>Cummings constantly considers the power structures producing specific historical narratives. Historical representations, whether in a museum, a textbook or even a public park, are human-made, and thus reflective of political agendas and cultural biases. These narratives are usually limited in scope—and \u003cem>limiting\u003c/em> for us as students, viewers, readers and, more broadly, as citizens.\u003c/p>\n\u003cfigure id=\"attachment_13841057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although queer culture is certainly a prime example of a marginalized history—and a personal interest for the artist—it’s only one example of the many narratives often omitted from mainstream depictions of the past.\u003c/p>\n\u003cp>“If you have the opportunity to question one aspect of a received narrative, then there’s also an opportunity to question other aspects of it,” she observes. “So, I might be looking for signs of queer pasts, but that’s not the only thing on the periphery. In trying to explore the world that’s off-camera, there are going to be other things that are relevant to that story.”\u003c/p>\n\u003cfigure id=\"attachment_13841059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841059\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg\" alt=\"A diorama sculpture in Cummings' Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A diorama sculpture in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Cummings isn’t bent on setting the record straight (so to speak) for the sake of accurate inclusion. “At some point, [my research] veers into a sort of synthesis or fiction, where it’s based in fact, often, but it doesn’t stay there,” she explains. “The research forms the frame for the project, and then something else happens.”\u003c/p>\n\u003cp>That something else results in built environments where visitors can view the night-sky constellations of previous eras (in \u003ca href=\"https://www.torreya.info/Valley-of-Heart-s-Delight\" target=\"_blank\" rel=\"noopener\">one work\u003c/a>, before the founding of Silicon Valley; in another, \u003ca href=\"https://www.torreya.info/Frontier-Enclosure\" target=\"_blank\" rel=\"noopener\">the time before\u003c/a> the Gold Rush); performed recreations of found photographs (of \u003ca href=\"https://www.torreya.info/HARD-ROCKS\" target=\"_blank\" rel=\"noopener\">1970s gay porn\u003c/a>, as well as 19th-century \u003ca href=\"https://www.torreya.info/Destry-Rides-Again-Again\" target=\"_target\" rel=\"noopener\">saloon culture\u003c/a> mixed with a Dietrich film); a group of \u003ca href=\"https://www.torreya.info/Sailors-Signaling-Other-Sailors\" target=\"_blank\" rel=\"noopener\">“sailors”\u003c/a> bouncing a neon-green ray of light between mirrors; and an \u003ca href=\"https://www.kqed.org/arts/10617032/aquatic-park-exhibition-investigates-maritime-history\" target=\"_blank\" rel=\"noopener\">obscure recreation\u003c/a> of a folded 1939 San Francisco casino.\u003c/p>\n\u003cfigure id=\"attachment_13840778\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg\" alt=\"Torreya Cummings, 'Sailors Signalling Other Sailors,' 2015.\" width=\"1340\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg 1340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-520x347.jpg 520w\" sizes=\"auto, (max-width: 1340px) 100vw, 1340px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Sailors Signalling Other Sailors,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the complexities Cummings attends to is how strongly to identify or position oneself as an artist or a queer artist, and how that also can be revealed in the work itself—or not. “What does it mean to be a queer artist and how is this separated from being an artist generally? I do think oftentimes, you’re called upon to either perform or deny whatever your difference is,” Cummings says, which could risk repeating both the limited and limiting narratives she steers to avoid.\u003c/p>\n\u003cp>“A lot of times in my subject matter, it’s not totally clear or specifically queer,” she says. “But I think the lens, the perspective I have, the things that I’m interested in and the politics I have—the way I want to be in the world, are all affected by that. [Queerness] doesn’t have to be the subject matter, it can be the approach.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "The interdisciplinary artist rethinks historical narratives through built spaces, letting \"at-odds\" elements remain in tandem. ",
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"title": "Redefining Pride: Roaming Through Torreya Cummings’ Off-Camera Histories | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Welcome to KQED Arts’ \u003c/i>\u003ca href=\"https://www.kqed.org/arts/tag/redefining-pride\" target=\"_blank\" rel=\"noopener\">Redefining Pride: The East Bay’s Queer Artists\u003c/a>\u003ci>, a series highlighting the work of queer-identified artists in Oakland and Berkeley. Through printmaking, photography, painting and interdisciplinary work, these visual artists celebrate people, histories and causes often sidelined within mainstream presentations of the queer community.\u003c/i>\u003c/p>\n\u003cp>For many, the phrase “landscape art” evokes paintings of rolling hills and photographs of desert horizons. But these are two-dimensional renderings of three-dimensional spaces, spaces replete with sounds, scents and textures. For interdisciplinary artist \u003ca href=\"https://www.torreya.info/\" target=\"_blank\" rel=\"noopener\">Torreya Cummings\u003c/a>, such flattening is counterintuitive; landscapes are multisensory terrains meant to be explored.\u003c/p>\n\u003cp>“I spent a lot of time outside as a kid,” Cummings says of her rural upbringing in the Central Valley. “Landscape has never seemed like a static thing. It’s an environment that you’re in, and it’s complex. You’re not just looking at it, you’re experiencing and interacting with it.”\u003c/p>\n\u003cfigure id=\"attachment_13841060\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841060\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg\" alt=\"Erasing the hard lines separating "urban" and "rural" in Cummings' Oakland studio.\" width=\"1200\" height=\"864\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1020x734.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-1180x850.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-960x691.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-375x270.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_12_1200-520x374.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Erasing the hard lines separating “urban” and “rural” in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This attitude helps explain the artist’s multidimensional work, which tends to invite viewers to enter a temporary site, whether a built environment or a site-specific performance. In a sense, she creates experiences for people to roam through like a real landscape, though on a much smaller scale than a forest or field.\u003c/p>\n\u003cp>A recent multimedia installation commissioned by and on view at \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> for just under two years (it closed at the end of April 2018) encapsulated that approach. In \u003cem>Notes from ‘Camp’: AKA Transdimensional Ghost Town Discotheque\u003c/em>, the three-dimensional environment married a desert-town-inspired shanty with a (frankly) fabulous iridescent interior. Videos of shimmering crystals, streams and fish played to the sounds of 1970s disco.\u003c/p>\n\u003cfigure id=\"attachment_13840776\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13840776\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg\" alt=\"Detail of the interior of Torreya Cumming's 'Notes From "Camp": AKA Transdimensional Ghost Town Discotheque', 2016-18 at the Oakland Museum of California.\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/162.jpg 1500w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Detail of the interior of Torreya Cumming’s ‘Notes From “Camp”: AKA Transdimensional Ghost Town Discotheque’, 2016-18 at the Oakland Museum of California. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The work provided a way for Cummings to play out her curiosity about the supposed opposites of “rural” and “urban” spaces, \u003ca href=\"https://www.torreya.info/Notes-From-Camp\" target=\"_blank\" rel=\"noopener\">partially inspired\u003c/a> by \u003ca href=\"https://en.wikipedia.org/wiki/Notes_on_%22Camp%22\" target=\"_blank\" rel=\"noopener\">a foundational 1964 text\u003c/a> written by theorist Susan Sontag that discussed the concepts behind “camp,” an attitude expressing a penchant for kitchy, over-the-top aesthetics. Sontag poses “natural” in strict opposition to camp’s connection to the “urban” and to “artifice”—two notions firmly associated with modern queerness, as is camp itself.\u003c/p>\n\u003cp>Cummings’ sparkling hut is a spirited, if ambivalent, rejoinder to the essay; the installation not only allows contradictions to coexist, it seemingly celebrates them all. The installation also made tangible the perspective of a queer person who has traversed both rural and urban realms and felt, in both, equally valid senses of belonging and detachment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cfigure id=\"attachment_13841061\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841061\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_8_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At first glance, finding queer belonging in rural areas appears improbable—like Sontag’s stark contrast may be altogether too accurate in real life. It’s true that urban centers often offer safe(r)-havens for the LGBTQ community (though this safety remains relative to race, class, ability and other forms of privilege). At the very least they enable social connections that are harder to come by in rural areas. And San Francisco, Oakland and the broader Bay Area boast a well-established queer history, where traditions of socializing through nightlife and bar or club culture run deep.\u003c/p>\n\u003cfigure id=\"attachment_13840779\" class=\"wp-caption alignright\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840779\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg\" alt=\"Torreya Cummings, 'Hard Rocks, The West is known for nothing if not for its hospitality,' 2014.\" width=\"720\" height=\"1079\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/8.-Hard-Rocks_The-West-is-known-for-nothing-if-not-for-its-hospitality-520x779.jpg 520w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Hard Rocks, The West is known for nothing if not for its hospitality,’ 2014. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In this area, where avant-garde drag is the norm and there is often greater understanding of gender diversity, Cummings says, “It feels like… whatever I am, I’m not the only one. And not just now, but historically: there is a place carved out for a sort of miscellaneous queer existence, and that is part of the reason this place feels like home for me.”\u003c/p>\n\u003cp>Nonetheless, Cummings has experienced her own internal push-and-pull of rural familiarity and urban connection. Having grown up in the small community of Sloughhouse before moving to Davis, San Francisco and, later, Oakland, she says that for a while, she felt torn between regions. “When I was in the country, I was like, ‘Get me out of here!’ And then when I was in the city, I was like, ‘Actually, I miss that other place,’” she says.\u003c/p>\n\u003cp>But, as the many layers of \u003ci>Notes from ‘Camp’\u003c/i> demonstrate, the artist is interested in letting “at-odds” elements exist in tandem. “The power of artmaking is that you can have contradiction,” Cummings says. “You can have ambivalence and you can have multiple meanings existing in one place.”\u003c/p>\n\u003cp>Cummings constantly considers the power structures producing specific historical narratives. Historical representations, whether in a museum, a textbook or even a public park, are human-made, and thus reflective of political agendas and cultural biases. These narratives are usually limited in scope—and \u003cem>limiting\u003c/em> for us as students, viewers, readers and, more broadly, as citizens.\u003c/p>\n\u003cfigure id=\"attachment_13841057\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg\" alt=\"Cummings in her Oakland studio.\" width=\"1200\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_17_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Cummings in her Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although queer culture is certainly a prime example of a marginalized history—and a personal interest for the artist—it’s only one example of the many narratives often omitted from mainstream depictions of the past.\u003c/p>\n\u003cp>“If you have the opportunity to question one aspect of a received narrative, then there’s also an opportunity to question other aspects of it,” she observes. “So, I might be looking for signs of queer pasts, but that’s not the only thing on the periphery. In trying to explore the world that’s off-camera, there are going to be other things that are relevant to that story.”\u003c/p>\n\u003cfigure id=\"attachment_13841059\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13841059\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg\" alt=\"A diorama sculpture in Cummings' Oakland studio.\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/KQED_Torreya_Cummings_Graham_Holoch_9_1200-520x347.jpg 520w\" sizes=\"auto, (max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A diorama sculpture in Cummings’ Oakland studio. \u003ccite>(Graham Holoch/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In fact, Cummings isn’t bent on setting the record straight (so to speak) for the sake of accurate inclusion. “At some point, [my research] veers into a sort of synthesis or fiction, where it’s based in fact, often, but it doesn’t stay there,” she explains. “The research forms the frame for the project, and then something else happens.”\u003c/p>\n\u003cp>That something else results in built environments where visitors can view the night-sky constellations of previous eras (in \u003ca href=\"https://www.torreya.info/Valley-of-Heart-s-Delight\" target=\"_blank\" rel=\"noopener\">one work\u003c/a>, before the founding of Silicon Valley; in another, \u003ca href=\"https://www.torreya.info/Frontier-Enclosure\" target=\"_blank\" rel=\"noopener\">the time before\u003c/a> the Gold Rush); performed recreations of found photographs (of \u003ca href=\"https://www.torreya.info/HARD-ROCKS\" target=\"_blank\" rel=\"noopener\">1970s gay porn\u003c/a>, as well as 19th-century \u003ca href=\"https://www.torreya.info/Destry-Rides-Again-Again\" target=\"_target\" rel=\"noopener\">saloon culture\u003c/a> mixed with a Dietrich film); a group of \u003ca href=\"https://www.torreya.info/Sailors-Signaling-Other-Sailors\" target=\"_blank\" rel=\"noopener\">“sailors”\u003c/a> bouncing a neon-green ray of light between mirrors; and an \u003ca href=\"https://www.kqed.org/arts/10617032/aquatic-park-exhibition-investigates-maritime-history\" target=\"_blank\" rel=\"noopener\">obscure recreation\u003c/a> of a folded 1939 San Francisco casino.\u003c/p>\n\u003cfigure id=\"attachment_13840778\" class=\"wp-caption aligncenter\" style=\"max-width: 1340px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13840778\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg\" alt=\"Torreya Cummings, 'Sailors Signalling Other Sailors,' 2015.\" width=\"1340\" height=\"894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors.jpg 1340w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/2.-Sailors-Signaling-Other-Sailors-520x347.jpg 520w\" sizes=\"auto, (max-width: 1340px) 100vw, 1340px\">\u003cfigcaption class=\"wp-caption-text\">Torreya Cummings, ‘Sailors Signalling Other Sailors,’ 2015. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the complexities Cummings attends to is how strongly to identify or position oneself as an artist or a queer artist, and how that also can be revealed in the work itself—or not. “What does it mean to be a queer artist and how is this separated from being an artist generally? I do think oftentimes, you’re called upon to either perform or deny whatever your difference is,” Cummings says, which could risk repeating both the limited and limiting narratives she steers to avoid.\u003c/p>\n\u003cp>“A lot of times in my subject matter, it’s not totally clear or specifically queer,” she says. “But I think the lens, the perspective I have, the things that I’m interested in and the politics I have—the way I want to be in the world, are all affected by that. [Queerness] doesn’t have to be the subject matter, it can be the approach.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oakland officials introduced a restructured and expanded art grants program at a press conference Monday, delivering on changes envisioned in the city’s new Cultural Plan. The announcement came as city council prepares to approve \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">80 projects selected\u003c/a> for the first round of 2018 funding, totaling $1,136,253.\u003c/p>\n\u003cp>Initiatives in the expanded program include a residency program for artists to embed as creative problem-solvers within city agencies such as transportation or planning, as well as funds for nonprofits to partner with local cultural organizations on projects fostering neighborhood identity. The former will support 3-5 artists, with the duration and award figure to be determined. \u003c/p>\n\u003cp>The categories reflect proposals in the city’s Cultural Plan, “Belonging in Oakland,” a roadmap for the Cultural Funding Program under the leadership of poet and longtime arts administrator Roberto Bedoya, who \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">started\u003c/a> as the Oakland’s first-ever cultural affairs manager in September of 2016. \u003c/p>\n\u003cp>The plan, \u003ca href=\"https://www.kqed.org/forum/2010101864466/oakland-releases-plan-to-support-arts-residents-expressive-life\">Oakland’s first since 1988\u003c/a>, describes focusing Bedoya’s agency on the roots, and not merely the symptoms, of cultural erasure at a time of widespread displacement. “What’s paramount to this process and putting the plan together is to have a vision of cultural equity at the heart of what we do,” Bedoya said at the press conference. \u003c/p>\n\u003cp>The budget and infrastructure of the Cultural Affairs Unit, which funds projects by organizations as well as individual artists, dramatically downsized during the Great Recession. Oakland Mayor Libby Schaaf described today’s news as part of an agency rebound. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“As we rebuilt our cultural arts program following the devastating cuts of the recession, we knew that we needed a leader who not only understood government arts programs, but was uniquely position to address the cultural needs of the city,” Schaaf said of Bedoya. \u003c/p>\n\u003cp>Groups such as the Oakland Creative Neighborhoods Coalition have in recent years pleaded for more robust cultural funding, \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-new-budget-whats-in-it-for-the-arts/Content?oid=7963862\">calling attention\u003c/a> to dwindling space and resources for local artists. According to a 2017 staff report, the number of applications to the individual artist project category has increased 50-60 percent since 2012, but the cultural plan notes Oakland’s inflation-adjusted grant-making budget is nearly half of what it was in 2001.\u003c/p>\n\u003cp>The first annual grants round overseen entirely by Bedoya, which Oakland’s city council is set to approve Monday, distributes $1.1 million to 70 artists and organizations. An additional $100,000 is earmarked for the residency and neighborhood-based programs, which have an application deadline of Dec. 15. The combined figure for both rounds—$1,236,253—is a nudge more than in recent years, reflecting onetime funds set aside by city council last summer.\u003c/p>\n\u003cp>Awardees in the most recent round include Spencer Wilkinson, who’s finishing a documentary centered on the downtown Universal Language mural; Eric Arnold, who’s researching a book and exhibition about Oakland’s boogaloo dance subculture; Josephine Lee, who oversees the Jazz on Sunday program at Golden Gate Library; and youth programs from organizations such as Hip-Hop for Change and Women’s Audio Mission. The staff report notes 16 percent of the 138 proposals came from first-time applicants. (See the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">full list of awardees here\u003c/a>.)\u003c/p>\n\u003cp>Other initiatives in the Cultural Plan include overhauling “context-impervious” grant requirements such as insurance and full-time paid staff, which Bedoya said would be incorporated into the process next year, and securing permanent funding for the mayor’s policy director for art spaces, a position currently held by Kelley Kahn and backed by a two-year grant from the Oakland-based Kenneth Rainin Foundation. \u003c/p>\n\u003cp>Last June, Oakland’s city council also allocated $150,000 for Bedoya to hire a staffer to oversee recreating the defunct arts commission, which would add another peer-based layer to the grant-making process. Bedoya said he’s interviewing candidates for the role. The plan suggests that the process, which currently involves five steps, warrants “streamlining.”\u003c/p>\n\u003cp>The 119-page Cultural Plan, a draft of which appeared in March, incorporates feedback received at 14 community meetings, 450 responses to an online survey, and recommendations from the Artist Housing and Workspace task force convened in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let us be clear,” Schaaf said on Monday. “The plan is over the finish line, but implementation is at the starting line.” \u003c/p>\n\n",
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"excerpt": "Mayor Libby Schaaf described the news as part of the agency’s post-recession rebound. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland officials introduced a restructured and expanded art grants program at a press conference Monday, delivering on changes envisioned in the city’s new Cultural Plan. The announcement came as city council prepares to approve \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">80 projects selected\u003c/a> for the first round of 2018 funding, totaling $1,136,253.\u003c/p>\n\u003cp>Initiatives in the expanded program include a residency program for artists to embed as creative problem-solvers within city agencies such as transportation or planning, as well as funds for nonprofits to partner with local cultural organizations on projects fostering neighborhood identity. The former will support 3-5 artists, with the duration and award figure to be determined. \u003c/p>\n\u003cp>The categories reflect proposals in the city’s Cultural Plan, “Belonging in Oakland,” a roadmap for the Cultural Funding Program under the leadership of poet and longtime arts administrator Roberto Bedoya, who \u003ca href=\"https://www.kqed.org/arts/11976824/oakland-hires-its-first-cultural-affairs-manager\">started\u003c/a> as the Oakland’s first-ever cultural affairs manager in September of 2016. \u003c/p>\n\u003cp>The plan, \u003ca href=\"https://www.kqed.org/forum/2010101864466/oakland-releases-plan-to-support-arts-residents-expressive-life\">Oakland’s first since 1988\u003c/a>, describes focusing Bedoya’s agency on the roots, and not merely the symptoms, of cultural erasure at a time of widespread displacement. “What’s paramount to this process and putting the plan together is to have a vision of cultural equity at the heart of what we do,” Bedoya said at the press conference. \u003c/p>\n\u003cp>The budget and infrastructure of the Cultural Affairs Unit, which funds projects by organizations as well as individual artists, dramatically downsized during the Great Recession. Oakland Mayor Libby Schaaf described today’s news as part of an agency rebound. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As we rebuilt our cultural arts program following the devastating cuts of the recession, we knew that we needed a leader who not only understood government arts programs, but was uniquely position to address the cultural needs of the city,” Schaaf said of Bedoya. \u003c/p>\n\u003cp>Groups such as the Oakland Creative Neighborhoods Coalition have in recent years pleaded for more robust cultural funding, \u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-new-budget-whats-in-it-for-the-arts/Content?oid=7963862\">calling attention\u003c/a> to dwindling space and resources for local artists. According to a 2017 staff report, the number of applications to the individual artist project category has increased 50-60 percent since 2012, but the cultural plan notes Oakland’s inflation-adjusted grant-making budget is nearly half of what it was in 2001.\u003c/p>\n\u003cp>The first annual grants round overseen entirely by Bedoya, which Oakland’s city council is set to approve Monday, distributes $1.1 million to 70 artists and organizations. An additional $100,000 is earmarked for the residency and neighborhood-based programs, which have an application deadline of Dec. 15. The combined figure for both rounds—$1,236,253—is a nudge more than in recent years, reflecting onetime funds set aside by city council last summer.\u003c/p>\n\u003cp>Awardees in the most recent round include Spencer Wilkinson, who’s finishing a documentary centered on the downtown Universal Language mural; Eric Arnold, who’s researching a book and exhibition about Oakland’s boogaloo dance subculture; Josephine Lee, who oversees the Jazz on Sunday program at Golden Gate Library; and youth programs from organizations such as Hip-Hop for Change and Women’s Audio Mission. The staff report notes 16 percent of the 138 proposals came from first-time applicants. (See the \u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/FY1819-GRANTS.pdf\" rel=\"noopener\" target=\"_blank\">full list of awardees here\u003c/a>.)\u003c/p>\n\u003cp>Other initiatives in the Cultural Plan include overhauling “context-impervious” grant requirements such as insurance and full-time paid staff, which Bedoya said would be incorporated into the process next year, and securing permanent funding for the mayor’s policy director for art spaces, a position currently held by Kelley Kahn and backed by a two-year grant from the Oakland-based Kenneth Rainin Foundation. \u003c/p>\n\u003cp>Last June, Oakland’s city council also allocated $150,000 for Bedoya to hire a staffer to oversee recreating the defunct arts commission, which would add another peer-based layer to the grant-making process. Bedoya said he’s interviewing candidates for the role. The plan suggests that the process, which currently involves five steps, warrants “streamlining.”\u003c/p>\n\u003cp>The 119-page Cultural Plan, a draft of which appeared in March, incorporates feedback received at 14 community meetings, 450 responses to an online survey, and recommendations from the Artist Housing and Workspace task force convened in 2016. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Let us be clear,” Schaaf said on Monday. “The plan is over the finish line, but implementation is at the starting line.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "eviction-of-71-year-old-oakland-painter-raises-loophole-concern",
"title": "Eviction of 71-Year-Old Oakland Painter Raises Loophole Concern",
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"headTitle": "Eviction of 71-Year-Old Oakland Painter Raises Loophole Concern | KQED",
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"content": "\u003cp>Robert Gill has lived in the same place in East Oakland for nearly 18 years.\u003c/p>\n\u003cp>But now, Gill, a disabled, 71-year-old painter, faces imminent eviction. Tenant rights activists say that the process by which Gill is being ousted from his longtime home highlights landlords’ exploitation of a city code enforcement loophole—in short, that a landlord can fail to upkeep a property, and then evict the tenant for it.\u003c/p>\n\u003cp>Gill, who paints as Rob Trains, moved into the former firehouse at 1357 93rd Avenue in 2001, after he was displaced from another live-work space in San Francisco. In 2012, the multi-unit property sold to Ray Oppenheimer. Following years of disputes, Oppenheimer last year asked the city to determine the legality of Gill’s unit; an inspector responded with instruction to “discontinue use as a living unit,” which Oppenheimer used to justify evicting Gill. \u003c/p>\n\u003cfigure id=\"attachment_13840807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill and his attorney Jackie Zaneri contend the eviction was retaliatory; Gill at first reported unpermitted construction in another unit on the property to officials, and complained to Oppenheimer about a lack of heat and other conditions. They say Oppenheimer solicited the “notice of violation” from the city in order to oust his tenant, and declined offers from Safer DIY Spaces—an organization formed after the Ghost Ship fire to help tenants of code-deficient housing—to subsidize the unit’s permitting and renovation on the condition of retaining Gill.\u003c/p>\n\u003cp>Oppenheimer, a lighting designer who’s worked with West Edge Opera and Shotgun Players, didn’t respond to interview requests. County records show he bought the property for $425,000 with his parents, who later transferred the title to him alone. His attorney, Jonathan Black of Weston Law Group, called the cost of bringing Gill’s unit up to code prohibitively expensive, and cast doubt on Safer DIY Spaces’ estimates. The organization, which includes prominent live-work architect Thomas Dolan, put the cost at $13,000, but Black put it at “six figures.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The city won’t allow the residential unit,” Black said, arguing that officials left his client no choice. “I’d never advise a client to use code enforcement to get around just-cause.” \u003c/p>\n\u003cfigure id=\"attachment_13840805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg\" alt=\"A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill.\" width=\"800\" height=\"470\" class=\"size-medium wp-image-13840805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill. \u003ccite>(Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue is a section of the city’s just-cause for eviction regulation allowing landlords to withdraw units from the residential market if they’re “unwilling” to correct code violations. \u003c/p>\n\u003cp>“There’s nothing to stop a landlord from deferring maintenance and then citing code enforcement’s own documentation of the resultant violations as a reason to evict,” said Safer DIY Spaces’ David Keenan.\u003c/p>\n\u003cp>Zaneri said Centro Legal de la Raza, which serves low-income clients, has recently seen a rash of evictions similar to Gill’s, stemming from landlords’ own code violations. She called it a “loophole” for landlords to vacate units otherwise subject to tenant protections. It’s concerning, Zaneri said, because code enforcement should be a resource for tenants to hold landlords accountable. “Code-enforcement isn’t supposed to be ordering landlords to evict people unless there’s a life-safety hazard,” she said.\u003c/p>\n\u003cp>The demand to “discontinue use as a living unit” also contradicts Oakland Mayor Libby Schaaf’s Jan. 2017 executive order for officials to avoid displacing tenants of nonconforming housing, which the mayor issued amid concerns about a code-enforcement crackdown following the Ghost Ship fire. An \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\">investigation\u003c/a> found that most evictions from nonconforming units in the months after the fire followed notices of violation containing language such as “discontinue residential use.”\u003c/p>\n\u003cfigure id=\"attachment_13840806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darin Ranelletti, the city’s policy director for housing security, said inspectors were told early last year to instead instruct landlords to “legalize conversions” except in life-threatening conditions. Yet officials have continued to issue what critics call de facto eviction orders.\u003c/p>\n\u003cp>In a June 2017 email to Keenan, reviewed by KQED, Ranelletti wrote that “staff has been instructed to refrain from using the language ‘restore to original use’ on notices pertaining to unpermitted occupancies.” Ranelletti’s email continued, “I agree that this is misleading because the owner can seek the necessary permits and approvals to allow the converted use.”\u003c/p>\n\u003cp>There is “genuine and real willingness to fix this problem in building and planning leadership,” according to Keenan. “But it’s an entrenched institutional practice with real consequences.” \u003c/p>\n\u003cp>Gill moved to San Francisco in the 1960s and helped start Project One, considered the city’s first warehouse commune. He worked as a painter, a contractor, an amateur boxer, and canvas stretcher. Until it was demolished in 2001, he lived at the storied Mission District arts space known as 47 Clarion. A series of surgeries in recent years has impaired his sight and mobility, and he supplements his social security income by building canvas frames and selling his collectible belongings on eBay.\u003c/p>\n\u003cfigure id=\"attachment_13840808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg\" alt=\"Robert Gill shows off his latest painting inside his East Oakland apartment.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill shows off his latest painting inside his East Oakland apartment. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For less than $900 month, Gill rents a small apartment and detached art studio from Oppenheimer. Sculptures and model cars rest on most surfaces, and above his bed is an enormous, vibrantly colored painting—his latest. “I showed the lady at the art store a picture of that canvas and said my 28-year-old punk rock neighbor painted it,” he said. “She believed me!”\u003c/p>\n\u003cp>Gill said he didn’t know his unit lacks approvals until recently. If he had, he wouldn’t have called code enforcement to report Oppenheimer’s unpermitted construction. “Ray knew this place wasn’t up to code,” he said. “He must’ve known about this option all along. Looking back, it seems obvious.” (A 2011 real estate listing alludes to Gill’s unit lacking residential clearance).\u003c/p>\n\u003cp>Avoiding a trial, the parties reached a settlement earlier this week. Gill will receive five months free rent as well as a relocation payment, the total value of which he put at $30,000. If Oppenheimer brings Gill’s unit into compliance, he’s required to offer it back at comparable rent. By then, though, Gill isn’t sure where he’ll be, and he worries that Oppenheimer will instead move into the unit himself, or else offer it as a temporary rental through Airbnb. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My friends have been asking what I’ll do for a year now, and I just tell them to knock it off because I really don’t know yet,” Gill said. “I thought I’d spend the rest of my life here.” \u003c/p>\n\n",
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"excerpt": "Robert Gill has lived in the same place for nearly 18 years—but he's being evicted by a process that tenants rights advocates call unjust.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Robert Gill has lived in the same place in East Oakland for nearly 18 years.\u003c/p>\n\u003cp>But now, Gill, a disabled, 71-year-old painter, faces imminent eviction. Tenant rights activists say that the process by which Gill is being ousted from his longtime home highlights landlords’ exploitation of a city code enforcement loophole—in short, that a landlord can fail to upkeep a property, and then evict the tenant for it.\u003c/p>\n\u003cp>Gill, who paints as Rob Trains, moved into the former firehouse at 1357 93rd Avenue in 2001, after he was displaced from another live-work space in San Francisco. In 2012, the multi-unit property sold to Ray Oppenheimer. Following years of disputes, Oppenheimer last year asked the city to determine the legality of Gill’s unit; an inspector responded with instruction to “discontinue use as a living unit,” which Oppenheimer used to justify evicting Gill. \u003c/p>\n\u003cfigure id=\"attachment_13840807\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.STatue-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill and his attorney Jackie Zaneri contend the eviction was retaliatory; Gill at first reported unpermitted construction in another unit on the property to officials, and complained to Oppenheimer about a lack of heat and other conditions. They say Oppenheimer solicited the “notice of violation” from the city in order to oust his tenant, and declined offers from Safer DIY Spaces—an organization formed after the Ghost Ship fire to help tenants of code-deficient housing—to subsidize the unit’s permitting and renovation on the condition of retaining Gill.\u003c/p>\n\u003cp>Oppenheimer, a lighting designer who’s worked with West Edge Opera and Shotgun Players, didn’t respond to interview requests. County records show he bought the property for $425,000 with his parents, who later transferred the title to him alone. His attorney, Jonathan Black of Weston Law Group, called the cost of bringing Gill’s unit up to code prohibitively expensive, and cast doubt on Safer DIY Spaces’ estimates. The organization, which includes prominent live-work architect Thomas Dolan, put the cost at $13,000, but Black put it at “six figures.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The city won’t allow the residential unit,” Black said, arguing that officials left his client no choice. “I’d never advise a client to use code enforcement to get around just-cause.” \u003c/p>\n\u003cfigure id=\"attachment_13840805\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg\" alt=\"A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill.\" width=\"800\" height=\"470\" class=\"size-medium wp-image-13840805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-800x470.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-768x452.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1020x600.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1200x706.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-1180x694.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-960x565.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-240x141.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-375x221.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.House_-520x306.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A former firehouse, 1357 93rd Avenue in Oakland is now a multi-unit dwelling, including the apartment and studio of Robert Gill. \u003ccite>(Google Maps)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue is a section of the city’s just-cause for eviction regulation allowing landlords to withdraw units from the residential market if they’re “unwilling” to correct code violations. \u003c/p>\n\u003cp>“There’s nothing to stop a landlord from deferring maintenance and then citing code enforcement’s own documentation of the resultant violations as a reason to evict,” said Safer DIY Spaces’ David Keenan.\u003c/p>\n\u003cp>Zaneri said Centro Legal de la Raza, which serves low-income clients, has recently seen a rash of evictions similar to Gill’s, stemming from landlords’ own code violations. She called it a “loophole” for landlords to vacate units otherwise subject to tenant protections. It’s concerning, Zaneri said, because code enforcement should be a resource for tenants to hold landlords accountable. “Code-enforcement isn’t supposed to be ordering landlords to evict people unless there’s a life-safety hazard,” she said.\u003c/p>\n\u003cp>The demand to “discontinue use as a living unit” also contradicts Oakland Mayor Libby Schaaf’s Jan. 2017 executive order for officials to avoid displacing tenants of nonconforming housing, which the mayor issued amid concerns about a code-enforcement crackdown following the Ghost Ship fire. An \u003cem>East Bay Express\u003c/em> \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\">investigation\u003c/a> found that most evictions from nonconforming units in the months after the fire followed notices of violation containing language such as “discontinue residential use.”\u003c/p>\n\u003cfigure id=\"attachment_13840806\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg\" alt=\"Robert Gill inside his East Oakland studio.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Lookingup-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill inside his East Oakland studio. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Darin Ranelletti, the city’s policy director for housing security, said inspectors were told early last year to instead instruct landlords to “legalize conversions” except in life-threatening conditions. Yet officials have continued to issue what critics call de facto eviction orders.\u003c/p>\n\u003cp>In a June 2017 email to Keenan, reviewed by KQED, Ranelletti wrote that “staff has been instructed to refrain from using the language ‘restore to original use’ on notices pertaining to unpermitted occupancies.” Ranelletti’s email continued, “I agree that this is misleading because the owner can seek the necessary permits and approvals to allow the converted use.”\u003c/p>\n\u003cp>There is “genuine and real willingness to fix this problem in building and planning leadership,” according to Keenan. “But it’s an entrenched institutional practice with real consequences.” \u003c/p>\n\u003cp>Gill moved to San Francisco in the 1960s and helped start Project One, considered the city’s first warehouse commune. He worked as a painter, a contractor, an amateur boxer, and canvas stretcher. Until it was demolished in 2001, he lived at the storied Mission District arts space known as 47 Clarion. A series of surgeries in recent years has impaired his sight and mobility, and he supplements his social security income by building canvas frames and selling his collectible belongings on eBay.\u003c/p>\n\u003cfigure id=\"attachment_13840808\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg\" alt=\"Robert Gill shows off his latest painting inside his East Oakland apartment.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13840808\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Gill.Above_-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Gill shows off his latest painting inside his East Oakland apartment. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For less than $900 month, Gill rents a small apartment and detached art studio from Oppenheimer. Sculptures and model cars rest on most surfaces, and above his bed is an enormous, vibrantly colored painting—his latest. “I showed the lady at the art store a picture of that canvas and said my 28-year-old punk rock neighbor painted it,” he said. “She believed me!”\u003c/p>\n\u003cp>Gill said he didn’t know his unit lacks approvals until recently. If he had, he wouldn’t have called code enforcement to report Oppenheimer’s unpermitted construction. “Ray knew this place wasn’t up to code,” he said. “He must’ve known about this option all along. Looking back, it seems obvious.” (A 2011 real estate listing alludes to Gill’s unit lacking residential clearance).\u003c/p>\n\u003cp>Avoiding a trial, the parties reached a settlement earlier this week. Gill will receive five months free rent as well as a relocation payment, the total value of which he put at $30,000. If Oppenheimer brings Gill’s unit into compliance, he’s required to offer it back at comparable rent. By then, though, Gill isn’t sure where he’ll be, and he worries that Oppenheimer will instead move into the unit himself, or else offer it as a temporary rental through Airbnb. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“My friends have been asking what I’ll do for a year now, and I just tell them to knock it off because I really don’t know yet,” Gill said. “I thought I’d spend the rest of my life here.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "advice-from-a-former-graffiti-writer-to-oaklands-new-generation",
"title": "Advice From Justin Bua to Oakland’s Next Generation of Artists",
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"headTitle": "Advice From Justin Bua to Oakland’s Next Generation of Artists | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>uis Lopez walked into SoleSpace in downtown Oakland last week with his classmates from Oakland School for the Arts for a brief lecture from renowned artist Justin Bua.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Lopez strolled right past the shoes on the sales racks and the mounted images of Bua’s work and randomly introduced himself to me, an unassuming guy holding a camera in the back of the room. I quickly learned that Lopez is a music producer, and just recently started rapping over his own beats. One of his friends chimed in, calling him by his stage name, “Casso,” inspired by Picasso. Why Picasso?\u003c/p>\n\u003cp>Because, Lopez told me, he wants to make art that lasts.\u003c/p>\n\u003cp>Just then, it was time to hear from Bua, the prolific New York-raised painter, illustrator and entrepreneur. Bua was in town for an annual event, called Art For the People; every year he chooses one city in the world and sets up shop, selling prints of his work at discounted prices and donating a portion of the proceeds to a noble cause—and this time, it was Oakland School for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13840715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a fitting event for SoleSpace, a shoe store that doubles as a community space. Run by Jeff Perlstein, it’s located in the heart of where the change is happening in Oakland. The place sells shoes to keep the lights on, but over the years they’ve hosted political rallies, small live performances, movie screenings, and Warriors viewing parties. It’s one of the few spaces in downtown Oakland where artists, activists and creative types gather.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A middle-aged man who hasn’t lost his cool-kid look, Bua told the students at SoleSpace his origin story, about how he started as a graffiti bomber in Harlem during hip-hop’s golden era. After his teenage years tagging trains and hopping rooftops in uptown, he eventually matured into an arts scholar, attending ArtCenter College of Design, what he called “the Harvard of arts schools.”\u003c/p>\n\u003cp>His career took off when he started producing exaggerated images of jazz and hip-hop characters. “At one point I was selling more posters than any artist on planet earth,” Bua told the seated students. Since, he’s kept up that commercial momentum with work on video games like \u003cem>NBA Street\u003c/em>, as well as music videos like Slum Village’s “Tainted.” He’s done jewelry, phone cases, skateboards, images for films and TV shows.\u003c/p>\n\u003cp>Having worked as an arts educator, he talked art history through a hip-hop lens, mentioning classical artists, modern artists and graffiti writers in the same sentence. He managed to mix in an S-word here and an MF-bomb there, keeping the young people’s attention.\u003c/p>\n\u003cp>And in the end, Bua had two main points for those in attendance. First, dedicate yourself to art, right now. Secondly, don’t confine yourself to one kind of art.\u003c/p>\n\u003cfigure id=\"attachment_13840717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg\" alt=\"Some of Justin Bua's work displayed at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of Justin Bua’s work displayed at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of Bua’s more well-known pieces, an \u003ca href=\"https://justinbua.com/products/the-dj\" target=\"_blank\" rel=\"noopener noreferrer\">image of a DJ\u003c/a> on the turntables, looked familiar. It brought me back to my teenage days—did I have it as a binder folder when I was in school?\u003c/p>\n\u003cp>He said it dropped in 2001, around the time I was going through puberty and initially committed myself to writing everyday.\u003c/p>\n\u003cp>Funny, back then, I was like “Casso,” looking to create art that lasts, and going through a pivot—I was growing from a poet to a rapper, and using a “stage name.” All the while, unbeknownst to me, I was sowing the seeds of what would become a career as a journalist: the ability to observe the vibe of my peers, to think on my feet and to ask critical questions that yield fruitful answers. I did in through lyrics then, and to this day, I’m still learning how to move a crowd merely by using words.\u003c/p>\n\u003cp>Crazy to think of how far one person can go with a simple talent: drawing in Bua’s case, storytelling in my case, and hopefully, music making for Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13840716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Bua’s credit, he didn’t get stuck where he initially achieved success. And he had clear understanding of why it worked when it did. He struck gold with his images, he said, because he was at the right place at the right time. “I was painting hip-hop narratives at a time no one thought you could do that,” he said. “No one thought that was marketable.”\u003c/p>\n\u003cp>I couldn’t help but notice the logo for Bua’s company, a silhouette of a man with an afro, complete with an afro pick and a fist on the end of it, painted on the large wall behind where Bua was sitting. Another version of it adorned the pendant dangling from Bua’s necklace. When I asked Bua, who’s Puerto Rican and Jewish, where the logo came from, he said it’s based on an image from his first book, \u003cem>The Beat of Urban Art\u003c/em>, and was inspired by the folks he’d see in his neighborhood as a kid.\u003c/p>\n\u003cp>He got his start by simply drawing what was around him, he said, but lately he’s been exploring more angles, noting his depictions of Anthony Bourdain and even professional golfer Phil Mickelson as examples of expanding his craft.\u003c/p>\n\u003cp>I laughed, even his answer about navigating depictions of race in art stayed true to his message of evolution; it’s like the only that doesn’t change about Bua is his need to constantly change.\u003c/p>\n\u003cfigure id=\"attachment_13840718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat was further evidenced by his response to a student’s question about the future of his work. Bua said he’s just trying to get better, constantly. “Michelangelo was 81 when he said he was just beginning to learn how to draw,” Bua told the students.\u003c/p>\n\u003cp>When the conversation concluded, the students stepped forward to get free prints of some of Bua’s work. I caught up to Lopez, a.k.a. Casso, who told me he liked the presentation and showed me the print he picked up.\u003c/p>\n\u003cp>I walked out of the event still holding my camera, thinking more about Lopez’s career path than Bua’s. At age 16, Lopez is already doing what Bua had suggested. He’s dedicated himself to being an artist, for the long term. On top of that, he’s already pivoting; or rather, evolving.\u003c/p>\n\u003cp>It kind of makes me question, what’s next for me?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>uis Lopez walked into SoleSpace in downtown Oakland last week with his classmates from Oakland School for the Arts for a brief lecture from renowned artist Justin Bua.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Lopez strolled right past the shoes on the sales racks and the mounted images of Bua’s work and randomly introduced himself to me, an unassuming guy holding a camera in the back of the room. I quickly learned that Lopez is a music producer, and just recently started rapping over his own beats. One of his friends chimed in, calling him by his stage name, “Casso,” inspired by Picasso. Why Picasso?\u003c/p>\n\u003cp>Because, Lopez told me, he wants to make art that lasts.\u003c/p>\n\u003cp>Just then, it was time to hear from Bua, the prolific New York-raised painter, illustrator and entrepreneur. Bua was in town for an annual event, called Art For the People; every year he chooses one city in the world and sets up shop, selling prints of his work at discounted prices and donating a portion of the proceeds to a noble cause—and this time, it was Oakland School for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13840715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a fitting event for SoleSpace, a shoe store that doubles as a community space. Run by Jeff Perlstein, it’s located in the heart of where the change is happening in Oakland. The place sells shoes to keep the lights on, but over the years they’ve hosted political rallies, small live performances, movie screenings, and Warriors viewing parties. It’s one of the few spaces in downtown Oakland where artists, activists and creative types gather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A middle-aged man who hasn’t lost his cool-kid look, Bua told the students at SoleSpace his origin story, about how he started as a graffiti bomber in Harlem during hip-hop’s golden era. After his teenage years tagging trains and hopping rooftops in uptown, he eventually matured into an arts scholar, attending ArtCenter College of Design, what he called “the Harvard of arts schools.”\u003c/p>\n\u003cp>His career took off when he started producing exaggerated images of jazz and hip-hop characters. “At one point I was selling more posters than any artist on planet earth,” Bua told the seated students. Since, he’s kept up that commercial momentum with work on video games like \u003cem>NBA Street\u003c/em>, as well as music videos like Slum Village’s “Tainted.” He’s done jewelry, phone cases, skateboards, images for films and TV shows.\u003c/p>\n\u003cp>Having worked as an arts educator, he talked art history through a hip-hop lens, mentioning classical artists, modern artists and graffiti writers in the same sentence. He managed to mix in an S-word here and an MF-bomb there, keeping the young people’s attention.\u003c/p>\n\u003cp>And in the end, Bua had two main points for those in attendance. First, dedicate yourself to art, right now. Secondly, don’t confine yourself to one kind of art.\u003c/p>\n\u003cfigure id=\"attachment_13840717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg\" alt=\"Some of Justin Bua's work displayed at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of Justin Bua’s work displayed at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of Bua’s more well-known pieces, an \u003ca href=\"https://justinbua.com/products/the-dj\" target=\"_blank\" rel=\"noopener noreferrer\">image of a DJ\u003c/a> on the turntables, looked familiar. It brought me back to my teenage days—did I have it as a binder folder when I was in school?\u003c/p>\n\u003cp>He said it dropped in 2001, around the time I was going through puberty and initially committed myself to writing everyday.\u003c/p>\n\u003cp>Funny, back then, I was like “Casso,” looking to create art that lasts, and going through a pivot—I was growing from a poet to a rapper, and using a “stage name.” All the while, unbeknownst to me, I was sowing the seeds of what would become a career as a journalist: the ability to observe the vibe of my peers, to think on my feet and to ask critical questions that yield fruitful answers. I did in through lyrics then, and to this day, I’m still learning how to move a crowd merely by using words.\u003c/p>\n\u003cp>Crazy to think of how far one person can go with a simple talent: drawing in Bua’s case, storytelling in my case, and hopefully, music making for Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13840716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Bua’s credit, he didn’t get stuck where he initially achieved success. And he had clear understanding of why it worked when it did. He struck gold with his images, he said, because he was at the right place at the right time. “I was painting hip-hop narratives at a time no one thought you could do that,” he said. “No one thought that was marketable.”\u003c/p>\n\u003cp>I couldn’t help but notice the logo for Bua’s company, a silhouette of a man with an afro, complete with an afro pick and a fist on the end of it, painted on the large wall behind where Bua was sitting. Another version of it adorned the pendant dangling from Bua’s necklace. When I asked Bua, who’s Puerto Rican and Jewish, where the logo came from, he said it’s based on an image from his first book, \u003cem>The Beat of Urban Art\u003c/em>, and was inspired by the folks he’d see in his neighborhood as a kid.\u003c/p>\n\u003cp>He got his start by simply drawing what was around him, he said, but lately he’s been exploring more angles, noting his depictions of Anthony Bourdain and even professional golfer Phil Mickelson as examples of expanding his craft.\u003c/p>\n\u003cp>I laughed, even his answer about navigating depictions of race in art stayed true to his message of evolution; it’s like the only that doesn’t change about Bua is his need to constantly change.\u003c/p>\n\u003cfigure id=\"attachment_13840718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat was further evidenced by his response to a student’s question about the future of his work. Bua said he’s just trying to get better, constantly. “Michelangelo was 81 when he said he was just beginning to learn how to draw,” Bua told the students.\u003c/p>\n\u003cp>When the conversation concluded, the students stepped forward to get free prints of some of Bua’s work. I caught up to Lopez, a.k.a. Casso, who told me he liked the presentation and showed me the print he picked up.\u003c/p>\n\u003cp>I walked out of the event still holding my camera, thinking more about Lopez’s career path than Bua’s. At age 16, Lopez is already doing what Bua had suggested. He’s dedicated himself to being an artist, for the long term. On top of that, he’s already pivoting; or rather, evolving.\u003c/p>\n\u003cp>It kind of makes me question, what’s next for me?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The First of the Oakland Raiders Cheerleaders",
"headTitle": "The First of the Oakland Raiders Cheerleaders | 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\">Y\u003c/span>ou ever wish you could just jump into a photo? Just so you could be in that time and place, and be able to witness the story behind the picture?\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>When Rita Cecaci opened her photo album and showed me a black-and-white image of the first-ever squad of cheerleaders for the Oakland Raiders, and then pointed to the young woman in the middle of the bunch, and said, “that’s me,” I was intrigued.\u003c/p>\n\u003cp>When she told me she was still in high school when the photo of the Raiderettes was taken, 56 years ago, I was \u003cem>really\u003c/em> intrigued.\u003c/p>\n\u003cp>Most of the 20 cheerleaders in the photo—if not all of them—were high schoolers, posing at Frank Youell Field, which we now call Laney College. It was the 1962 season, the franchise’s third full season and the first year the Oakland Raiders actually played in Oakland. (The two years previous, they played in San Francisco at Kezar Stadium and Candlestick Park.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Along with other photos of the squad, Cecaci also had a 1962 season program. Passing by the ads for local car lots and beer companies, she showed me a blurb introducing the Raiderettes: “Our halftime production will be better than in 1961, with the addition of the Oakland Raiderettes, a precision team modeled after the world-famous Rockettes of Radio City fame in New York City.”\u003c/p>\n\u003cfigure id=\"attachment_13840440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840440\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-800x575.jpg\" alt=\"Rita Cecaci at her home in Oakland. Cecaci was on the first-ever Oakland Raiders cheerleading squad, the Raiderettes, in 1962.\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rita Cecaci at her home in Oakland. Cecaci was on the first-ever Oakland Raiders cheerleading squad, the Raiderettes, in 1962. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Raiderettes worked under the guidance of well-known musician and actor Del Courtney, who directed the Raider band and orchestrated the halftime show. Of course, the cheerleaders weren’t paid. And again, of course, they did more than just perform at halftime shows, appearing out in the community, including an All-Girl Revue at Oakland Tech.\u003c/p>\n\u003cp>As she turned the pages in her photo album, she walked me through the world that was mid-20th century Oakland. I quickly realized that her story isn’t just about her time spent cheering on a well-known pro sports team, although that’s what piqued my interest; her story is that of a woman who’s spent a lifetime committed to family, community, culture and history.\u003c/p>\n\u003cp>Her commitments were here before the Raiders were founded in 1960, and will be here long after they leave; and that’s what makes Oakland Oakland. It’s not about a sports team, although a sports team does amplify the identity of the Town. It’s about the people who make the place. And she’s one of the many who gained from, and gave her all to, this town.\u003c/p>\n\u003cfigure id=\"attachment_13840435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840435\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-800x450.jpg\" alt=\"A shot of the Raiderettes in 1962.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A shot of the Raiderettes in 1962. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ecaci grew up not too far from there, in the Jingletown neighborhood. She’d heard the same legend I had: that the name of the neighborhood came from the sound of coins jingling around in people’s pockets as they walked home from work. We laughed when neither of us could confirm the rumor.\u003c/p>\n\u003cp>She was raised by her grandparents. Her grandmother, a first generation Mexican-American woman, worked the majority of her life at the American Telephone and Telegraph Company (AT&T); Cecaci still keeps one of her switchboard plugs on her keyring. Her grandfather, who was born in Mexico, worked at a foundry not too far from their house, and was a skilled carpenter and gardener. Together, they bought four parcels of land and built three houses on the property, that’s where Cecaci spent her childhood.\u003c/p>\n\u003cp>Sometimes big trucks full of tomatoes from the valley would park near their house, waiting to unload at the Del Monte cannery, near where Fruitvale BART now stands. “Some kids would jump up, take the tomatoes, and throw them and make a mess,” said Cecaci. “But they were the best tasting tomatoes, big beefsteak tomatoes. Big as your face, almost!”\u003c/p>\n\u003cp>As a precursor to cheerleading, Cecaci learned dancing at a studio in her neighborhood in East Oakland, “tap dancing and ballet, when I was eight or nine years old, in a studio in the Fruitvale on East 14th.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13840434\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Program-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>She turned the page in her book again, pointing at young images of herself, standing next to the family’s 1930s truck. There was an image of her all dolled up, celebrating the Queen of the Holy Ghost, a Portuguese Tradition. And of course, her graduation portrait: Class of 1964, Fremont High School.\u003c/p>\n\u003cp>Cecaci only cheered for two years. A few years after graduating, Cecaci got married, had three children of her own, and eventually moved near Mills College. A career in education followed, including stints at Holy Names, Urban Promise Academy, and helping shape Northern California’s first Charter School, Oakland Charter Academy (OCA), originally called Jingletown Charter School. She retired earlier this year.\u003c/p>\n\u003cp>But in the early 1990s, her family sold the parcels of land where she grew up, and she cringes when talking about how much they got versus how much the recently built live-in-work lofts on that land are now selling for now.\u003c/p>\n\u003cp>The story of housing, culture and history especially hits home for Rita’s middle daughter, Elisa Cecaci, who just settled a long back-and-forth with a former landlord.\u003c/p>\n\u003cp>Elisa told me that after the landlord blatantly attempted to force her and her family out, she wisened up and went through the City Of Oakland’s Mortgage Assistance Program to purchase a home. While staying with her mother, she worked hard, saved money, raised her credit score, and then “our escrow closed on the same day the settlement ended,” she said.\u003c/p>\n\u003cp>The success of finding housing is bittersweet, added Elisa, who volunteers with the East Oakland Collective to bring food and resources to un-housed people.\u003c/p>\n\u003cp>“My story is the other side of displacement,” she said of the crisis in Oakland. “Yes, we were technically displaced, but we were intentional about not leaving.”\u003c/p>\n\u003cfigure id=\"attachment_13840437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-800x507.jpg\" alt=\"A land assessor's book for the city of Brooklyn (later Oakland), owned by Elise Cecaci.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-520x330.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A land assessor’s book for the city of Brooklyn (later Oakland), owned by Elisa Cecaci. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>oth Elisa and Rita agree that the issues in Oakland are manyfold: lack of housing, the broken school system, illegal dumping. And yes, even pro sports teams ditching Oakland for what they seem to think are brighter pastures.\u003c/p>\n\u003cp>“I think it’s a slap in the face,” said Elisa. “The Warriors and the Raiders are going to other places—I’m not super big on sports, and definitely have issues with the NFL, but in Oakland, we go hard for our teams.”\u003c/p>\n\u003cp>And intertwined with the identity of the sports teams is the political and cultural identity of the Town.\u003c/p>\n\u003cp>Elisa gets that. She said she works for “gentrifiers” as a nanny, and is clear about her efforts to bridge the gap between the new community and the people who’ve been here. She laughed as she told me that she often wears political shirts to work, ones that say “Oakland Against Gentrification” and “Condos and Tent Cities Everywhere I Look.”\u003c/p>\n\u003cp>One day while leaving the house where she works, she saw a pile of things that had been discarded, evidently from someone moving out abruptly. From that pile stood out a leather bound book that read “Brooklyn” on the cover. She didn’t have to turn through the tattered pages of the book for long before she realized it was a City Assessors book from the 1890s; back when East Oakland was called Brooklyn.\u003c/p>\n\u003cp>“You should give it to the City of Oakland,” one friend told Elisa.\u003c/p>\n\u003cp>She replied, “I \u003cem>am\u003c/em> the city of Oakland.”\u003c/p>\n\u003cp>When she sent me some images from that book, and as I stared at the photos on my phone, my mind wandered into what it’d be like to jump into those pictures.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou ever wish you could just jump into a photo? Just so you could be in that time and place, and be able to witness the story behind the picture?\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>When Rita Cecaci opened her photo album and showed me a black-and-white image of the first-ever squad of cheerleaders for the Oakland Raiders, and then pointed to the young woman in the middle of the bunch, and said, “that’s me,” I was intrigued.\u003c/p>\n\u003cp>When she told me she was still in high school when the photo of the Raiderettes was taken, 56 years ago, I was \u003cem>really\u003c/em> intrigued.\u003c/p>\n\u003cp>Most of the 20 cheerleaders in the photo—if not all of them—were high schoolers, posing at Frank Youell Field, which we now call Laney College. It was the 1962 season, the franchise’s third full season and the first year the Oakland Raiders actually played in Oakland. (The two years previous, they played in San Francisco at Kezar Stadium and Candlestick Park.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Along with other photos of the squad, Cecaci also had a 1962 season program. Passing by the ads for local car lots and beer companies, she showed me a blurb introducing the Raiderettes: “Our halftime production will be better than in 1961, with the addition of the Oakland Raiderettes, a precision team modeled after the world-famous Rockettes of Radio City fame in New York City.”\u003c/p>\n\u003cfigure id=\"attachment_13840440\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840440\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-800x575.jpg\" alt=\"Rita Cecaci at her home in Oakland. Cecaci was on the first-ever Oakland Raiders cheerleading squad, the Raiderettes, in 1962.\" width=\"800\" height=\"575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-800x575.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-768x552.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-1020x733.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-960x689.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-375x269.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_-520x373.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Today_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rita Cecaci at her home in Oakland. Cecaci was on the first-ever Oakland Raiders cheerleading squad, the Raiderettes, in 1962. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Raiderettes worked under the guidance of well-known musician and actor Del Courtney, who directed the Raider band and orchestrated the halftime show. Of course, the cheerleaders weren’t paid. And again, of course, they did more than just perform at halftime shows, appearing out in the community, including an All-Girl Revue at Oakland Tech.\u003c/p>\n\u003cp>As she turned the pages in her photo album, she walked me through the world that was mid-20th century Oakland. I quickly realized that her story isn’t just about her time spent cheering on a well-known pro sports team, although that’s what piqued my interest; her story is that of a woman who’s spent a lifetime committed to family, community, culture and history.\u003c/p>\n\u003cp>Her commitments were here before the Raiders were founded in 1960, and will be here long after they leave; and that’s what makes Oakland Oakland. It’s not about a sports team, although a sports team does amplify the identity of the Town. It’s about the people who make the place. And she’s one of the many who gained from, and gave her all to, this town.\u003c/p>\n\u003cfigure id=\"attachment_13840435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840435\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-800x450.jpg\" alt=\"A shot of the Raiderettes in 1962.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Book_.Photo_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A shot of the Raiderettes in 1962. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">C\u003c/span>ecaci grew up not too far from there, in the Jingletown neighborhood. She’d heard the same legend I had: that the name of the neighborhood came from the sound of coins jingling around in people’s pockets as they walked home from work. We laughed when neither of us could confirm the rumor.\u003c/p>\n\u003cp>She was raised by her grandparents. Her grandmother, a first generation Mexican-American woman, worked the majority of her life at the American Telephone and Telegraph Company (AT&T); Cecaci still keeps one of her switchboard plugs on her keyring. Her grandfather, who was born in Mexico, worked at a foundry not too far from their house, and was a skilled carpenter and gardener. Together, they bought four parcels of land and built three houses on the property, that’s where Cecaci spent her childhood.\u003c/p>\n\u003cp>Sometimes big trucks full of tomatoes from the valley would park near their house, waiting to unload at the Del Monte cannery, near where Fruitvale BART now stands. “Some kids would jump up, take the tomatoes, and throw them and make a mess,” said Cecaci. “But they were the best tasting tomatoes, big beefsteak tomatoes. Big as your face, almost!”\u003c/p>\n\u003cp>As a precursor to cheerleading, Cecaci learned dancing at a studio in her neighborhood in East Oakland, “tap dancing and ballet, when I was eight or nine years old, in a studio in the Fruitvale on East 14th.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13840434\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.Program-800x556.jpg\" alt=\"\" width=\"800\" height=\"556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-768x534.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.Program-520x361.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>She turned the page in her book again, pointing at young images of herself, standing next to the family’s 1930s truck. There was an image of her all dolled up, celebrating the Queen of the Holy Ghost, a Portuguese Tradition. And of course, her graduation portrait: Class of 1964, Fremont High School.\u003c/p>\n\u003cp>Cecaci only cheered for two years. A few years after graduating, Cecaci got married, had three children of her own, and eventually moved near Mills College. A career in education followed, including stints at Holy Names, Urban Promise Academy, and helping shape Northern California’s first Charter School, Oakland Charter Academy (OCA), originally called Jingletown Charter School. She retired earlier this year.\u003c/p>\n\u003cp>But in the early 1990s, her family sold the parcels of land where she grew up, and she cringes when talking about how much they got versus how much the recently built live-in-work lofts on that land are now selling for now.\u003c/p>\n\u003cp>The story of housing, culture and history especially hits home for Rita’s middle daughter, Elisa Cecaci, who just settled a long back-and-forth with a former landlord.\u003c/p>\n\u003cp>Elisa told me that after the landlord blatantly attempted to force her and her family out, she wisened up and went through the City Of Oakland’s Mortgage Assistance Program to purchase a home. While staying with her mother, she worked hard, saved money, raised her credit score, and then “our escrow closed on the same day the settlement ended,” she said.\u003c/p>\n\u003cp>The success of finding housing is bittersweet, added Elisa, who volunteers with the East Oakland Collective to bring food and resources to un-housed people.\u003c/p>\n\u003cp>“My story is the other side of displacement,” she said of the crisis in Oakland. “Yes, we were technically displaced, but we were intentional about not leaving.”\u003c/p>\n\u003cfigure id=\"attachment_13840437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840437\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-800x507.jpg\" alt=\"A land assessor's book for the city of Brooklyn (later Oakland), owned by Elise Cecaci.\" width=\"800\" height=\"507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-768x487.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-240x152.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-375x238.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/Raiderette.BrooklynmBook-520x330.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A land assessor’s book for the city of Brooklyn (later Oakland), owned by Elisa Cecaci. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>oth Elisa and Rita agree that the issues in Oakland are manyfold: lack of housing, the broken school system, illegal dumping. And yes, even pro sports teams ditching Oakland for what they seem to think are brighter pastures.\u003c/p>\n\u003cp>“I think it’s a slap in the face,” said Elisa. “The Warriors and the Raiders are going to other places—I’m not super big on sports, and definitely have issues with the NFL, but in Oakland, we go hard for our teams.”\u003c/p>\n\u003cp>And intertwined with the identity of the sports teams is the political and cultural identity of the Town.\u003c/p>\n\u003cp>Elisa gets that. She said she works for “gentrifiers” as a nanny, and is clear about her efforts to bridge the gap between the new community and the people who’ve been here. She laughed as she told me that she often wears political shirts to work, ones that say “Oakland Against Gentrification” and “Condos and Tent Cities Everywhere I Look.”\u003c/p>\n\u003cp>One day while leaving the house where she works, she saw a pile of things that had been discarded, evidently from someone moving out abruptly. From that pile stood out a leather bound book that read “Brooklyn” on the cover. She didn’t have to turn through the tattered pages of the book for long before she realized it was a City Assessors book from the 1890s; back when East Oakland was called Brooklyn.\u003c/p>\n\u003cp>“You should give it to the City of Oakland,” one friend told Elisa.\u003c/p>\n\u003cp>She replied, “I \u003cem>am\u003c/em> the city of Oakland.”\u003c/p>\n\u003cp>When she sent me some images from that book, and as I stared at the photos on my phone, my mind wandered into what it’d be like to jump into those pictures.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day Was a Triumphant Close to a Summer of Combating Cultural Erasure",
"headTitle": "Hiero Day Was a Triumphant Close to a Summer of Combating Cultural Erasure | KQED",
"content": "\u003cp>The afternoon sun was beating down on Hiero Day when Richie Rich, a veteran of Oakland’s ’90s mobb music scene, closed out his set with the 1990 song “Side Show,” an homage to The Town’s oft-vilified \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2017/11/27/sideshows-spin-donuts-around-police-over-thanksgiving-weekend-in-oakland\" target=\"_blank\" rel=\"noopener\">underground car culture\u003c/a>. After a friendly exchange, rapper Mistah F.A.B., who hosted the main festival stage, brought a special guest to the stage.\u003c/p>\n\u003cp>It was Kenzie Smith, a candidate for Oakland City Council and the man involved in the infamous “BBQ Becky” incident. Smith was suddenly thrust into the spotlight in May after Jennifer Schulte, a white woman, called the police on him while he was having a barbecue at Lake Merritt. The viral incident galvanized black Oaklanders to reclaim public spaces with events like \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener\">BBQ’n While Black\u003c/a>, sending the message to stakeholders that, despite ongoing gentrification and displacement, they’re still here.\u003c/p>\n\u003cp>“He runnin’ for city council, man, for us to make a change so we can have one of our own making the decisions so they don’t push us out, so we can at least have a voice in all this,” said Mistah F.A.B. to the cheering crowd.\u003c/p>\n\u003cp>“They’re not trying to listen to the hip-hop community and think that the hip-hop community will not vote—I’ve heard this in several city council meetings,” said Smith before imploring the audience to register for the November election. The crowd shouted in approval.\u003c/p>\n\u003cfigure id=\"attachment_13840200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9223-800x533.jpg\" alt=\"Mistah F.A.B and Kenzie Smith at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B and Kenzie Smith at Hiero Day in Oakland on Monday, Sept. 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiero Day, now in its seventh year, has consistently been a triumphant showcase of Oakland’s underground hip-hop culture. But this year’s Labor Day block party and music festival felt particularly significant after a turbulent summer of racist incidents across the Bay Area. With numerous instances of white residents \u003ca href=\"https://abc7news.com/society/permit-patty-who-called-cops-on-8-year-old-selling-water-in-sf-loses-business/3652244/\" target=\"_blank\" rel=\"noopener\">calling the police\u003c/a> on black people engaged in mundane activities, and with the community still reeling from the tragic murder of \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener\">Nia Wilson\u003c/a>, 2018’s Hiero Day became a much-needed celebration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Earlier in the day, West Oakland rapper J. Stalin and his Livewire Records crew put on a rowdy show at the Imperium stage, moshing in the crowd among beaming fans already going hard before the festival had even filled up. J. Stalin, who was raised in the Cypress Village housing projects just down the street from Hiero Day’s West Oakland location, rarely does local shows—often because the \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" target=\"_blank\" rel=\"noopener\">police department shuts them down\u003c/a>. He looked liberated as he strutted across the stage, bouncing while delivering his verses. He received a hero’s welcome from hometown fans as well as the stage’s hosts, outspoken Oakland poet and playwright \u003ca href=\"https://www.kqed.org/arts/13798311/women-to-watch-chinaka-hodge\" rel=\"noopener\" target=\"_blank\">Chinaka Hodge\u003c/a> and Leon “DNas” Sykes, the founder of \u003ca href=\"https://youthradio.org/arts/510-day-reclaiming-gentrified-spaces-in-oakland/\" target=\"_blank\" rel=\"noopener\">510 Day\u003c/a>, another popular anti-gentrification event.\u003c/p>\n\u003cfigure id=\"attachment_13840236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9583-800x533.jpg\" alt=\"Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists’ sets carried a similar air of defiance. Georgia Anne Muldrow, a Stones Throw Records signee with a soulful singing voice, delivered an emotive set of experimental R&B, dancing on stage in her Rastafarian colors. She ended her set with the words “Black power!” Similarly, Freddie Gibbs’s call of “f-ck the police” carried weight in the context of the politically charged day.\u003c/p>\n\u003cp>Amid other significantly pricier and more homogenous festivals in the Bay Area—whose lineups often mirror other festivals around the country—Hiero Day remains special. Its organizers, conscious hip-hop crew Hieroglyphics, have held true to their vision of accessibility and originality. Although this year’s lineup wasn’t as star-studded as 2017’s (\u003ca href=\"https://www.kqed.org/arts/13807461/hiero-day-2017-music-highlights-and-photo-gallery\" rel=\"noopener\" target=\"_blank\">which included Lil B, Goapele and Bun B\u003c/a>), Hiero Day managed to spotlight local talent and bring in world-class artists, like Cash Money Records producer Mannie Fresh, while keeping ticket prices low.\u003c/p>\n\u003cp>Year after year, Hieroglyphics’ commitment to their vision ensures a diverse, intergenerational crowd of music lovers. And as gatherings like this become increasingly rare, Hiero Day 2018 served as a reminder of collective power in the face of cultural erasure.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos from Hiero Day 2018\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9270-800x533.jpg\" alt=\"Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9604-800x533.jpg\" alt=\"Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9588-800x533.jpg\" alt=\"Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840235\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9569-800x533.jpg\" alt=\"Mannie Fresh plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannie Fresh plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9541-800x533.jpg\" alt=\"People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9533-800x533.jpg\" alt=\"People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840232\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9517-800x533.jpg\" alt=\"Imani of The Pharcyde at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imani of The Pharcyde at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9512-800x533.jpg\" alt=\"Joe Wax plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Wax plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9508-800x533.jpg\" alt=\"ALLBLACK plays with Joe Wax at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK plays with Joe Wax at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9480-800x533.jpg\" alt=\"Chali 2na plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chali 2na plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9474-800x533.jpg\" alt=\"The Pharcyde plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pharcyde plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9429-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9420-800x533.jpg\" alt=\"Elzhi plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elzhi plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9416-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840221\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9400-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dj Fresh plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9390-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9385-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9384-800x533.jpg\" alt=\"Talib Kweli plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talib Kweli plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9376-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9344-800x533.jpg\" alt=\"Durag Dynasty plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Durag Dynasty plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840212\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840212\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9336-800x533.jpg\" alt=\"Georgia Anne Muldrow plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Anne Muldrow plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9300-800x533.jpg\" alt=\"Mistah F.A.B at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9294-800x533.jpg\" alt=\"DJ Red Corvette and Rayana Jay at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Red Corvette and Rayana Jay at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840206\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9280-800x533.jpg\" alt=\"DJ Red Corvette plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Red Corvette plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9273-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9259-800x533.jpg\" alt=\"Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9242-800x533.jpg\" alt=\"Mistah F.A.B and his daughter Libby at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B and his daughter Libby at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "After reports of racist incidents across the Bay Area, this year's Hiero Day was a much-needed community celebration. ",
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"description": "After reports of racist incidents across the Bay Area, this year's Hiero Day was a much-needed community celebration. ",
"title": "Hiero Day Was a Triumphant Close to a Summer of Combating Cultural Erasure | KQED",
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"headline": "Hiero Day Was a Triumphant Close to a Summer of Combating Cultural Erasure",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The afternoon sun was beating down on Hiero Day when Richie Rich, a veteran of Oakland’s ’90s mobb music scene, closed out his set with the 1990 song “Side Show,” an homage to The Town’s oft-vilified \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2017/11/27/sideshows-spin-donuts-around-police-over-thanksgiving-weekend-in-oakland\" target=\"_blank\" rel=\"noopener\">underground car culture\u003c/a>. After a friendly exchange, rapper Mistah F.A.B., who hosted the main festival stage, brought a special guest to the stage.\u003c/p>\n\u003cp>It was Kenzie Smith, a candidate for Oakland City Council and the man involved in the infamous “BBQ Becky” incident. Smith was suddenly thrust into the spotlight in May after Jennifer Schulte, a white woman, called the police on him while he was having a barbecue at Lake Merritt. The viral incident galvanized black Oaklanders to reclaim public spaces with events like \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener\">BBQ’n While Black\u003c/a>, sending the message to stakeholders that, despite ongoing gentrification and displacement, they’re still here.\u003c/p>\n\u003cp>“He runnin’ for city council, man, for us to make a change so we can have one of our own making the decisions so they don’t push us out, so we can at least have a voice in all this,” said Mistah F.A.B. to the cheering crowd.\u003c/p>\n\u003cp>“They’re not trying to listen to the hip-hop community and think that the hip-hop community will not vote—I’ve heard this in several city council meetings,” said Smith before imploring the audience to register for the November election. The crowd shouted in approval.\u003c/p>\n\u003cfigure id=\"attachment_13840200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9223-800x533.jpg\" alt=\"Mistah F.A.B and Kenzie Smith at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9223-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B and Kenzie Smith at Hiero Day in Oakland on Monday, Sept. 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hiero Day, now in its seventh year, has consistently been a triumphant showcase of Oakland’s underground hip-hop culture. But this year’s Labor Day block party and music festival felt particularly significant after a turbulent summer of racist incidents across the Bay Area. With numerous instances of white residents \u003ca href=\"https://abc7news.com/society/permit-patty-who-called-cops-on-8-year-old-selling-water-in-sf-loses-business/3652244/\" target=\"_blank\" rel=\"noopener\">calling the police\u003c/a> on black people engaged in mundane activities, and with the community still reeling from the tragic murder of \u003ca href=\"https://www.kqed.org/arts/13837639/nia-wilson-and-the-war-on-black-women\" target=\"_blank\" rel=\"noopener\">Nia Wilson\u003c/a>, 2018’s Hiero Day became a much-needed celebration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Earlier in the day, West Oakland rapper J. Stalin and his Livewire Records crew put on a rowdy show at the Imperium stage, moshing in the crowd among beaming fans already going hard before the festival had even filled up. J. Stalin, who was raised in the Cypress Village housing projects just down the street from Hiero Day’s West Oakland location, rarely does local shows—often because the \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" target=\"_blank\" rel=\"noopener\">police department shuts them down\u003c/a>. He looked liberated as he strutted across the stage, bouncing while delivering his verses. He received a hero’s welcome from hometown fans as well as the stage’s hosts, outspoken Oakland poet and playwright \u003ca href=\"https://www.kqed.org/arts/13798311/women-to-watch-chinaka-hodge\" rel=\"noopener\" target=\"_blank\">Chinaka Hodge\u003c/a> and Leon “DNas” Sykes, the founder of \u003ca href=\"https://youthradio.org/arts/510-day-reclaiming-gentrified-spaces-in-oakland/\" target=\"_blank\" rel=\"noopener\">510 Day\u003c/a>, another popular anti-gentrification event.\u003c/p>\n\u003cfigure id=\"attachment_13840236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9583-800x533.jpg\" alt=\"Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9583-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Black Thought plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists’ sets carried a similar air of defiance. Georgia Anne Muldrow, a Stones Throw Records signee with a soulful singing voice, delivered an emotive set of experimental R&B, dancing on stage in her Rastafarian colors. She ended her set with the words “Black power!” Similarly, Freddie Gibbs’s call of “f-ck the police” carried weight in the context of the politically charged day.\u003c/p>\n\u003cp>Amid other significantly pricier and more homogenous festivals in the Bay Area—whose lineups often mirror other festivals around the country—Hiero Day remains special. Its organizers, conscious hip-hop crew Hieroglyphics, have held true to their vision of accessibility and originality. Although this year’s lineup wasn’t as star-studded as 2017’s (\u003ca href=\"https://www.kqed.org/arts/13807461/hiero-day-2017-music-highlights-and-photo-gallery\" rel=\"noopener\" target=\"_blank\">which included Lil B, Goapele and Bun B\u003c/a>), Hiero Day managed to spotlight local talent and bring in world-class artists, like Cash Money Records producer Mannie Fresh, while keeping ticket prices low.\u003c/p>\n\u003cp>Year after year, Hieroglyphics’ commitment to their vision ensures a diverse, intergenerational crowd of music lovers. And as gatherings like this become increasingly rare, Hiero Day 2018 served as a reminder of collective power in the face of cultural erasure.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos from Hiero Day 2018\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13840240\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840240\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9270-800x533.jpg\" alt=\"Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9270-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840239\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840239\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9604-800x533.jpg\" alt=\"Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9604-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9588-800x533.jpg\" alt=\"Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9588-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hieroglyphics plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840235\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840235\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9569-800x533.jpg\" alt=\"Mannie Fresh plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9569-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannie Fresh plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840234\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840234\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9541-800x533.jpg\" alt=\"People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9541-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9533-800x533.jpg\" alt=\"People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9533-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People Under the Stairs plays at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840232\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9517-800x533.jpg\" alt=\"Imani of The Pharcyde at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9517-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imani of The Pharcyde at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9512-800x533.jpg\" alt=\"Joe Wax plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9512-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Joe Wax plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9508-800x533.jpg\" alt=\"ALLBLACK plays with Joe Wax at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9508-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK plays with Joe Wax at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9480-800x533.jpg\" alt=\"Chali 2na plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9480-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chali 2na plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9474-800x533.jpg\" alt=\"The Pharcyde plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9474-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Pharcyde plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840224\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9429-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9429-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9420-800x533.jpg\" alt=\"Elzhi plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9420-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elzhi plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9416-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9416-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840221\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840221\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9400-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9400-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dj Fresh plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840220\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840220\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9390-800x533.jpg\" alt=\"Dj Fresh vs Traxamillion play Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9390-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traxamillion plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840219\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9385-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9385-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840218\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9384-800x533.jpg\" alt=\"Talib Kweli plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9384-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Talib Kweli plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840217\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9376-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9376-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840214\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840214\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9344-800x533.jpg\" alt=\"Durag Dynasty plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9344-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Durag Dynasty plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840212\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840212\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9336-800x533.jpg\" alt=\"Georgia Anne Muldrow plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9336-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Georgia Anne Muldrow plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840210\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840210\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9300-800x533.jpg\" alt=\"Mistah F.A.B at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9300-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840209\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840209\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9294-800x533.jpg\" alt=\"DJ Red Corvette and Rayana Jay at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9294-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Red Corvette and Rayana Jay at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840206\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9280-800x533.jpg\" alt=\"DJ Red Corvette plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9280-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ Red Corvette plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840205\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840205\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9273-800x533.jpg\" alt=\"The crowd at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9273-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840202\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840202\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9259-800x533.jpg\" alt=\"Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9259-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sa-Roc plays Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13840201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/MG_9242-800x533.jpg\" alt=\"Mistah F.A.B and his daughter Libby at Hiero Day in Oakland on Monday, September 3, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/MG_9242-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mistah F.A.B and his daughter Libby at Hiero Day in Oakland on Monday, September 3, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"slug": "honoring-lost-leaders-at-all-my-usos-a-polynesian-community-bbq-in-bayview",
"title": "Honoring Lost Leaders at 'All My Usos,' a Polynesian Community BBQ in Bayview",
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"headTitle": "Honoring Lost Leaders at ‘All My Usos,’ a Polynesian Community BBQ in Bayview | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I walked into Gilman Park in San Francisco’s Bayview neighborhood, it was just like that classic scene from the movie \u003cem>Poetic Justice\u003c/em>. You know, the one where Tupac Shakur’s character, Lucky, enters a park full of people he doesn’t know and is accepted with open arms into the Johnson family reunion after introducing himself as “Cousin Pete.”\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>The only difference was that the folks at the 4th annual All My Usos BBQ, a celebration organized by the Polynesian community in San Francisco, opened their arms to me before I had the chance to introduce myself.\u003c/p>\n\u003cp>It probably helped that I was with Jean Melesaine, a well-known photographer, sister of the community and product of the same soil on which we walked. Melesaine hugged people that she called auntie and kissed community cousins on the cheek, introducing me thereafter. I followed along as she moved through the crowd: tall with a warm smile, Canon camera securely strapped over her shoulder, her long black hair braided in two cornrows that draped down the back of her “Polynesian Panthers” T-shirt.\u003c/p>\n\u003cp>Melesaine has attended this annual barbecue for years, but this one was different. Key folks were missing.\u003c/p>\n\u003cfigure id=\"attachment_13839974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ome of the people Melesaine expected to see were at the hospital, she told me, alongside Joseph Taeotui, who had been shot multiple times that week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taeotui, I learned, is also commonly referred to as “Jungle Joe,” a community organizer who lived in the trenches and connected with the young people of the community. He helped to organize community events, including this one. He also worked on anti-violence campaigns; the day he got shot, he was reportedly coming from a community meeting on how to stop gun violence.\u003c/p>\n\u003cp>Adding to the heavy hearts around Jungle Joe’s life hanging in balance was the recent death of JT Mauia, one of the founders of this annual gathering, who died of cancer earlier this summer.\u003c/p>\n\u003cfigure id=\"attachment_13839977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nonetheless, the sun somehow pierced through the heavy fog of southeastern San Francisco before noon, and gently glistened off the parked motorcycles of the Pacific Savagez bike club. Kids got free haircuts and face-paint jobs. Some folks shot hoops, others played catch with a football. It was the first time I attended a barbecue where a rugby ball was tossed around.\u003c/p>\n\u003cp>Before the food was served, someone turned down the sound of classic R&B as attendees gathered in prayer. The emcee opened with a bit of history.\u003c/p>\n\u003cp>“I’m going to take it way back to the ’70s, when we had Flag Day. We came to rally in a circle,” he said. “Now we’ve created this because it’s a blessing to see everyone together.”\u003c/p>\n\u003cp>He then spoke a few words in Samoan, before continuing in English. “‘All My Usuos’ stands for all my brothers. ‘All’ defines all different cultures. It has no race on it. All you guys are my brothers. No matter what walk of life you come from, you are all my brothers. It’s not just about being Polynesian, but it is important to remember who you are and where you come from.”\u003c/p>\n\u003cfigure id=\"attachment_13839975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a few more words in Samoan, he passed the microphone to a gentleman named Pastor Lucky, who said a prayer for JT and Jungle Joe, quoted Mathews 5:16, and then blessed the food for everyone in the park—including the people who brought a Raiders tent.\u003c/p>\n\u003cp>As I stood in line to get food, someone asked, “Who made the potato salad?”—and my heart warmed. If my eyes had been closed, I would’ve thought I was at my own family reunion.\u003c/p>\n\u003cp>It had dawned on me: Melesaine and I aren’t too different.\u003c/p>\n\u003cp>With her ever-present camera, she’s a documentarian of a community that is in flux. A significant number of Samoans in San Francisco live in the same projects that house a large percentage of its African Americans, and they’re going through the same battles of gentrifying forces from the outside and community violence from within.\u003c/p>\n\u003cfigure id=\"attachment_13839976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Melesaine, I learned that a lot of Samoans are Mormon, far from their indigenous religion; similar to how a large percentage of people with African lineage are disconnected from our indigenous religions. In fact, Melesaine’s father originally came to the states to plant the palm tress that line the Mormon Temple on the hillside of East Oakland.\u003c/p>\n\u003cp>She also told me that a lot of Samoans from American Samoa (not to be confused with the Independent State of Samoa) came to the mainland United States in order to get involved in the armed forces; that’s how a large number of people ended up in Bayview and Hunters Point, which is adjacent to the now-defunct Navy Shipyard.\u003c/p>\n\u003cp>Even her “Polynesian Panther” shirt was a sign that our ancestral roots come from land that sits on two different oceans. But like myself, Melesaine is a student of the streets as well as the classroom. While our childhoods were spent on two different sides of the Bay Area, our struggles aren’t too far removed.\u003c/p>\n\u003cfigure id=\"attachment_13839972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839972\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg\" alt=\"Prince White.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince White. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>ays later, the unfortunate news came the Jungle Joe had passed. The very next day I got word that Prince White, an organizer and activist in my community in Oakland, who’d been in the hospital battling a very rare autoimmune disease, had succumbed to his illness.\u003c/p>\n\u003cp>In addition to being a father and a husband, White worked with the Urban Peace Movement and led the \u003ca href=\"https://unitedrootsoakland.org/determination-black-mens-group-boys-men-of-color-media-engagement/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Black Men’s Group\u003c/a>, “tailored to support young men who are struggling to advance in their own life goals and who have been formerly involved in or are currently in close proximity to the ‘street life.'” White also worked on the 1,400 Jobs for Freedom Campaign in Alameda County to employ the formerly incarcerated, and avidly fought for the release of a young man named Dajon Ford, who was arrested at age 17 but tried as an adult.\u003c/p>\n\u003cp>I knew White for only a few years, and I never met Jungle Joe. But I see parallels in their stories; just as I see commonalities between Melesaine and myself.\u003c/p>\n\u003cp>When I got word that White had passed, I went into my photo archives. I knew exactly where my photos of him were. I shared them on social media with words expressing condolences to his friends and family.\u003c/p>\n\u003cp>When Melesaine got word that Jungle Joe had passed, she did the same thing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "How I discovered that the Bay Area's Samoan community and African American community have more in common than I'd thought.",
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"title": "Honoring Lost Leaders at 'All My Usos,' a Polynesian Community BBQ in Bayview | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen I walked into Gilman Park in San Francisco’s Bayview neighborhood, it was just like that classic scene from the movie \u003cem>Poetic Justice\u003c/em>. You know, the one where Tupac Shakur’s character, Lucky, enters a park full of people he doesn’t know and is accepted with open arms into the Johnson family reunion after introducing himself as “Cousin Pete.”\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>The only difference was that the folks at the 4th annual All My Usos BBQ, a celebration organized by the Polynesian community in San Francisco, opened their arms to me before I had the chance to introduce myself.\u003c/p>\n\u003cp>It probably helped that I was with Jean Melesaine, a well-known photographer, sister of the community and product of the same soil on which we walked. Melesaine hugged people that she called auntie and kissed community cousins on the cheek, introducing me thereafter. I followed along as she moved through the crowd: tall with a warm smile, Canon camera securely strapped over her shoulder, her long black hair braided in two cornrows that draped down the back of her “Polynesian Panthers” T-shirt.\u003c/p>\n\u003cp>Melesaine has attended this annual barbecue for years, but this one was different. Key folks were missing.\u003c/p>\n\u003cfigure id=\"attachment_13839974\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839974\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.bbqgrill.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">S\u003c/span>ome of the people Melesaine expected to see were at the hospital, she told me, alongside Joseph Taeotui, who had been shot multiple times that week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taeotui, I learned, is also commonly referred to as “Jungle Joe,” a community organizer who lived in the trenches and connected with the young people of the community. He helped to organize community events, including this one. He also worked on anti-violence campaigns; the day he got shot, he was reportedly coming from a community meeting on how to stop gun violence.\u003c/p>\n\u003cp>Adding to the heavy hearts around Jungle Joe’s life hanging in balance was the recent death of JT Mauia, one of the founders of this annual gathering, who died of cancer earlier this summer.\u003c/p>\n\u003cfigure id=\"attachment_13839977\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839977\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.cigar_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Nonetheless, the sun somehow pierced through the heavy fog of southeastern San Francisco before noon, and gently glistened off the parked motorcycles of the Pacific Savagez bike club. Kids got free haircuts and face-paint jobs. Some folks shot hoops, others played catch with a football. It was the first time I attended a barbecue where a rugby ball was tossed around.\u003c/p>\n\u003cp>Before the food was served, someone turned down the sound of classic R&B as attendees gathered in prayer. The emcee opened with a bit of history.\u003c/p>\n\u003cp>“I’m going to take it way back to the ’70s, when we had Flag Day. We came to rally in a circle,” he said. “Now we’ve created this because it’s a blessing to see everyone together.”\u003c/p>\n\u003cp>He then spoke a few words in Samoan, before continuing in English. “‘All My Usuos’ stands for all my brothers. ‘All’ defines all different cultures. It has no race on it. All you guys are my brothers. No matter what walk of life you come from, you are all my brothers. It’s not just about being Polynesian, but it is important to remember who you are and where you come from.”\u003c/p>\n\u003cfigure id=\"attachment_13839975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839975\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.game_.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a few more words in Samoan, he passed the microphone to a gentleman named Pastor Lucky, who said a prayer for JT and Jungle Joe, quoted Mathews 5:16, and then blessed the food for everyone in the park—including the people who brought a Raiders tent.\u003c/p>\n\u003cp>As I stood in line to get food, someone asked, “Who made the potato salad?”—and my heart warmed. If my eyes had been closed, I would’ve thought I was at my own family reunion.\u003c/p>\n\u003cp>It had dawned on me: Melesaine and I aren’t too different.\u003c/p>\n\u003cp>With her ever-present camera, she’s a documentarian of a community that is in flux. A significant number of Samoans in San Francisco live in the same projects that house a large percentage of its African Americans, and they’re going through the same battles of gentrifying forces from the outside and community violence from within.\u003c/p>\n\u003cfigure id=\"attachment_13839976\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839976\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg\" alt=\"At the 'All My Usos' barbecue at Gilman Park in Bayview / Hunters Point.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.selfies.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At the ‘All My Usos’ barbecue at Gilman Park in Bayview / Hunters Point. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Talking with Melesaine, I learned that a lot of Samoans are Mormon, far from their indigenous religion; similar to how a large percentage of people with African lineage are disconnected from our indigenous religions. In fact, Melesaine’s father originally came to the states to plant the palm tress that line the Mormon Temple on the hillside of East Oakland.\u003c/p>\n\u003cp>She also told me that a lot of Samoans from American Samoa (not to be confused with the Independent State of Samoa) came to the mainland United States in order to get involved in the armed forces; that’s how a large number of people ended up in Bayview and Hunters Point, which is adjacent to the now-defunct Navy Shipyard.\u003c/p>\n\u003cp>Even her “Polynesian Panther” shirt was a sign that our ancestral roots come from land that sits on two different oceans. But like myself, Melesaine is a student of the streets as well as the classroom. While our childhoods were spent on two different sides of the Bay Area, our struggles aren’t too far removed.\u003c/p>\n\u003cfigure id=\"attachment_13839972\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839972\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg\" alt=\"Prince White.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/USOs.Prince.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince White. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">D\u003c/span>ays later, the unfortunate news came the Jungle Joe had passed. The very next day I got word that Prince White, an organizer and activist in my community in Oakland, who’d been in the hospital battling a very rare autoimmune disease, had succumbed to his illness.\u003c/p>\n\u003cp>In addition to being a father and a husband, White worked with the Urban Peace Movement and led the \u003ca href=\"https://unitedrootsoakland.org/determination-black-mens-group-boys-men-of-color-media-engagement/\" target=\"_blank\" rel=\"noopener noreferrer\">DetermiNation Black Men’s Group\u003c/a>, “tailored to support young men who are struggling to advance in their own life goals and who have been formerly involved in or are currently in close proximity to the ‘street life.'” White also worked on the 1,400 Jobs for Freedom Campaign in Alameda County to employ the formerly incarcerated, and avidly fought for the release of a young man named Dajon Ford, who was arrested at age 17 but tried as an adult.\u003c/p>\n\u003cp>I knew White for only a few years, and I never met Jungle Joe. But I see parallels in their stories; just as I see commonalities between Melesaine and myself.\u003c/p>\n\u003cp>When I got word that White had passed, I went into my photo archives. I knew exactly where my photos of him were. I shared them on social media with words expressing condolences to his friends and family.\u003c/p>\n\u003cp>When Melesaine got word that Jungle Joe had passed, she did the same thing.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "when-is-a-movie-theater-more-than-just-a-movie-theater",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Oct. 15, 2008, as voters across the country tuned in to the third and final presidential debate between then-senators Barack Obama and John McCain, I was wedged precariously into the backseat of a coworker’s car with three other people as the driver careened around the block near the Parkway Speakeasy Theater in Oakland, looking for a parking spot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We’d left early that day from the tiny Berkeley publishing house where we all worked in order to get seats at the Parkway, which was screening the debate. Our driver eventually dropped us off to snag a good couch while she parked; by the time she plopped down next to us, it’s likely we’d collectively downed at least one pitcher of beer.\u003c/p>\n\u003cp>With ten years’ hindsight, this debate is mostly remembered as the one where McCain invoked “Joe the Plumber”—the regular-guy small business owner who would ostensibly be ruined by Obama’s ostensibly socialist tax plan. But the main thing I remember is people were drunk, hollering, and throwing popcorn at the screen by about 15 minutes in. The irreverence was gleeful, contagious; the heckling matched any I’ve seen in the bleachers at the Oakland Coliseum. Around us, people ate pizza and spilled drinks; our shoes stuck to the floor. (The old Parkway, for readers who only know of its new incarnation, was a little gross in its latter years. This was, you see, part of its charm.)\u003c/p>\n\u003cp>I don’t recall leaving that evening. But I do remember looking around during the debate and thinking, \u003cem>Man, I love this place\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Six months later, the Parkway closed for good.\u003c/p>\n\u003cfigure id=\"attachment_13839905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg\" alt=\"Boots Riley (at right) at the premiere of 'Sorry to Bother You' at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R).\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-520x372.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley (at right) at the premiere of ‘Sorry to Bother You’ at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R). \u003ccite>(Gabe Meline/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\">W\u003c/span>hen is a movie theater more than just a movie theater?\u003c/p>\n\u003cp>This question was on my mind with the welcome news that Oakland’s Grand Lake Theatre, the 1926 movie house near Lake Merritt, has \u003ca href=\"https://www.sfchronicle.com/movies/article/Oakland-s-Grand-Lake-Theatre-purchased-will-13181330.php\" target=\"_blank\" rel=\"noopener noreferrer\">been sold outright\u003c/a> to its longtime leaseholder, Allen Michaan. The new owner, who purchased the building for $3.75 million, has plans to seek landmark status for the theater in the National Register of Historic Places, further protecting it from the rapid development that’s swept much of Oakland over the past decade.\u003c/p>\n\u003cp>On top of its architecture and spectacular, ornate interiors, the Grand Lake has always played a special role in Oakland. For one, its marquee could be counted on for candid messages of political protest well before our current president was elected. When I lived nearby, it always made me proud to see what particular anti-war or anti-imperialist message it might bear on a given day. In recent years, as so many businesses and brands struggle to strike a tone that conveys dissent without alienating conservatives, such frankness has felt not just refreshing, but vital.\u003c/p>\n\u003cp>And then there’s the cyclical role the theater has played in filmmaking itself.\u003c/p>\n\u003cfigure id=\"attachment_13825675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/24-800x533.jpg\" alt=\"Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of 'Fruitvale Station' (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ryan Coogler speaking at the Grand Lake Theatre with members of the cast and crew of ‘Fruitvale Station’ (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) at the premiere on June 20, 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past year, a trio of Oakland-based and/or Oakland-made films has meant huge box office numbers for the Grand Lake. Chronologically by release, that’d be \u003cem>Black Panther\u003c/em>, \u003cem>Sorry To Bother You\u003c/em>, and \u003cem>Blindspotting; \u003c/em>Michaan told reporters the sale was possible in part because of that windfall. That’s sweet and satisfying, but it’s also not serendipitous: those films meant good business for the Grand Lake in large part because their filmmakers specifically chose to drive business to the theater—\u003cem>because\u003c/em> of its importance in the community—by holding blowout premieres there aimed at locals.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em> director Ryan Coogler surprised one audience with a pre-film talk, mentioning how he saw \u003cem>Boyz n the Hood\u003c/em> at the Grand Lake as a kid, while Boots Riley mentioned at his premiere screening of \u003cem>Sorry to Bother You\u003c/em> how, as a young teenager, he’d rushed to the Grand Lake to watch \u003cem>Krush Groove\u003c/em>.\u003c/p>\n\u003cp>Film begetting filmmakers. Community begetting community.\u003c/p>\n\u003cp>“I think it’s a movie you need to see with other people,” Riley \u003ca href=\"https://pitchfork.com/features/interview/boots-riley-breaks-down-the-savvy-radicalism-of-his-directorial-debut-sorry-to-bother-you/\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a> of his film, shortly after its Grand Lake premiere for the San Francisco International Film Festival—the first centerpiece screening to be held in the East Bay in the festival’s existence. “It’s something you need to feel with other people … it’s not something I planned for people to watch on their laptop.”\u003c/p>\n\u003cp>It’s an event, in other words. Online streaming services are convenient, yes. But the experience of sitting in a darkened room with other human beings, most of them strangers, all in a place of deep vulnerability together, all suspending disbelief together, all taking a trip together with one piece of art on one big screen? Forget convenience. That’s \u003cem>sacred\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg\" alt=\"The marquee of the Grand Lake Theatre, which often hosts political messages.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup.jpg 1291w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The marquee of the Grand Lake Theatre, which often hosts political messages. \u003ccite>(Gabe Meline/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\">D\u003c/span>o you remember the first movie you ever saw in the theater? I don’t. I’m told it was \u003cem>Willow\u003c/em>, and I fell asleep.\u003c/p>\n\u003cp>To be sure, we’ve all had plenty of forgettable movie-going experiences. You know the ones: times when you feel part of a cattle call, there in line to spend $25 on fake butter and soda, all too aware of the multiplex not as a physical space but a concept—the undignified end of a corporate conveyor belt that needs you, the consumer, to not think too hard about what came before, or who’s profiting afterward.\u003c/p>\n\u003cp>But then there are the other times: times you experience cinematic magic, at a theater you will love \u003cem>from that point on\u003c/em>—because the space became personal, served as the setting for a feeling that can’t be duplicated. The Castro Theatre, with its organist, screening \u003cem>Vertigo\u003c/em> annually, then turning around and hosting hundreds of adults in taffeta for a \u003cem>The Little Mermaid\u003c/em> sing-alongs. The Roxie Theatre, with its old-school projectionists, deciding, sure, let’s have people bring their dogs to \u003cem>Isle of Dogs\u003c/em>. I think a lot about the Oaks Theatre, at the top of Solano Ave. in Berkeley, a historic space that at one point employed a half-dozen of my high school friends. I think about a photo of a couple of them grinning, standing in front of the marquee, where a manager had spelled out their names on graduation day.\u003c/p>\n\u003cp>The fact that the Oaks closed in 2010—last I checked, its space is slated to become a climbing gym—is far from an anomaly. It’s hardly news that the movie theater business has struggled to keep up since the advent of on-demand streaming, while independent movie houses, without the \u003cem>Star Wars\u003c/em> and \u003cem>Jurassic World\u003c/em> blockbusters to bring in the big bucks, get the shortest end of every stick.\u003c/p>\n\u003cp>And, as a consumer, it’s all too easy to understand the trend. I have Netflix, and Hulu, and my parents’ HBO Go password at the ready.\u003c/p>\n\u003cp>But when I think on why the Grand Lake news feels so damn triumphant, I also remember being 8 years old—when, during the \u003ca href=\"https://www.solanoavenueassn.org/events/solano-avenue-stroll/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Stroll\u003c/a>, if you weren’t the kind of kid to be in a marching band or dance troupe that actually took part in the bright, loud parade, you were likely the kind of kid who could be found at the Oaks. There, in the dark, you could stuff yourself with candy, surrounded by other kids more entranced by a movie screen than a dunk tank, watching the classic cartoons they played all day for free, just that day, once a year.\u003c/p>\n\u003cp>Who knows? Maybe some of them grew up to make movies too.\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=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "When is a Movie Theater More Than Just a Movie Theater?",
"datePublished": "2018-08-29T12:25:27-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n Oct. 15, 2008, as voters across the country tuned in to the third and final presidential debate between then-senators Barack Obama and John McCain, I was wedged precariously into the backseat of a coworker’s car with three other people as the driver careened around the block near the Parkway Speakeasy Theater in Oakland, looking for a parking spot.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"auto, (max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We’d left early that day from the tiny Berkeley publishing house where we all worked in order to get seats at the Parkway, which was screening the debate. Our driver eventually dropped us off to snag a good couch while she parked; by the time she plopped down next to us, it’s likely we’d collectively downed at least one pitcher of beer.\u003c/p>\n\u003cp>With ten years’ hindsight, this debate is mostly remembered as the one where McCain invoked “Joe the Plumber”—the regular-guy small business owner who would ostensibly be ruined by Obama’s ostensibly socialist tax plan. But the main thing I remember is people were drunk, hollering, and throwing popcorn at the screen by about 15 minutes in. The irreverence was gleeful, contagious; the heckling matched any I’ve seen in the bleachers at the Oakland Coliseum. Around us, people ate pizza and spilled drinks; our shoes stuck to the floor. (The old Parkway, for readers who only know of its new incarnation, was a little gross in its latter years. This was, you see, part of its charm.)\u003c/p>\n\u003cp>I don’t recall leaving that evening. But I do remember looking around during the debate and thinking, \u003cem>Man, I love this place\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Six months later, the Parkway closed for good.\u003c/p>\n\u003cfigure id=\"attachment_13839905\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839905\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg\" alt=\"Boots Riley (at right) at the premiere of 'Sorry to Bother You' at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R).\" width=\"800\" height=\"572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-800x572.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1200x858.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-240x172.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BootsRiley.GrandLake.Crews_-520x372.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Boots Riley (at right) at the premiere of ‘Sorry to Bother You’ at the Grand Lake Theatre, April 12, 2018, with cast members Michael X. Sommers, Terry Crews and Jermaine Fowler (L–R). \u003ccite>(Gabe Meline/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\">W\u003c/span>hen is a movie theater more than just a movie theater?\u003c/p>\n\u003cp>This question was on my mind with the welcome news that Oakland’s Grand Lake Theatre, the 1926 movie house near Lake Merritt, has \u003ca href=\"https://www.sfchronicle.com/movies/article/Oakland-s-Grand-Lake-Theatre-purchased-will-13181330.php\" target=\"_blank\" rel=\"noopener noreferrer\">been sold outright\u003c/a> to its longtime leaseholder, Allen Michaan. The new owner, who purchased the building for $3.75 million, has plans to seek landmark status for the theater in the National Register of Historic Places, further protecting it from the rapid development that’s swept much of Oakland over the past decade.\u003c/p>\n\u003cp>On top of its architecture and spectacular, ornate interiors, the Grand Lake has always played a special role in Oakland. For one, its marquee could be counted on for candid messages of political protest well before our current president was elected. When I lived nearby, it always made me proud to see what particular anti-war or anti-imperialist message it might bear on a given day. In recent years, as so many businesses and brands struggle to strike a tone that conveys dissent without alienating conservatives, such frankness has felt not just refreshing, but vital.\u003c/p>\n\u003cp>And then there’s the cyclical role the theater has played in filmmaking itself.\u003c/p>\n\u003cfigure id=\"attachment_13825675\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825675\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/24-800x533.jpg\" alt=\"Director Ryan Coogler speaking at the Grand Lake Theater with members of the cast and crew of 'Fruitvale Station' (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) on the night of the premiere.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/24-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Director Ryan Coogler speaking at the Grand Lake Theatre with members of the cast and crew of ‘Fruitvale Station’ (Michael B. Jordan, Melonie Diaz, Octavia Spencer, Forest Whittaker and others) at the premiere on June 20, 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the past year, a trio of Oakland-based and/or Oakland-made films has meant huge box office numbers for the Grand Lake. Chronologically by release, that’d be \u003cem>Black Panther\u003c/em>, \u003cem>Sorry To Bother You\u003c/em>, and \u003cem>Blindspotting; \u003c/em>Michaan told reporters the sale was possible in part because of that windfall. That’s sweet and satisfying, but it’s also not serendipitous: those films meant good business for the Grand Lake in large part because their filmmakers specifically chose to drive business to the theater—\u003cem>because\u003c/em> of its importance in the community—by holding blowout premieres there aimed at locals.\u003c/p>\n\u003cp>\u003cem>Black Panther\u003c/em> director Ryan Coogler surprised one audience with a pre-film talk, mentioning how he saw \u003cem>Boyz n the Hood\u003c/em> at the Grand Lake as a kid, while Boots Riley mentioned at his premiere screening of \u003cem>Sorry to Bother You\u003c/em> how, as a young teenager, he’d rushed to the Grand Lake to watch \u003cem>Krush Groove\u003c/em>.\u003c/p>\n\u003cp>Film begetting filmmakers. Community begetting community.\u003c/p>\n\u003cp>“I think it’s a movie you need to see with other people,” Riley \u003ca href=\"https://pitchfork.com/features/interview/boots-riley-breaks-down-the-savvy-radicalism-of-his-directorial-debut-sorry-to-bother-you/\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a> of his film, shortly after its Grand Lake premiere for the San Francisco International Film Festival—the first centerpiece screening to be held in the East Bay in the festival’s existence. “It’s something you need to feel with other people … it’s not something I planned for people to watch on their laptop.”\u003c/p>\n\u003cp>It’s an event, in other words. Online streaming services are convenient, yes. But the experience of sitting in a darkened room with other human beings, most of them strangers, all in a place of deep vulnerability together, all suspending disbelief together, all taking a trip together with one piece of art on one big screen? Forget convenience. That’s \u003cem>sacred\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13839906\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839906\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg\" alt=\"The marquee of the Grand Lake Theatre, which often hosts political messages.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/GrandLakemarqueecloseup.jpg 1291w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The marquee of the Grand Lake Theatre, which often hosts political messages. \u003ccite>(Gabe Meline/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\">D\u003c/span>o you remember the first movie you ever saw in the theater? I don’t. I’m told it was \u003cem>Willow\u003c/em>, and I fell asleep.\u003c/p>\n\u003cp>To be sure, we’ve all had plenty of forgettable movie-going experiences. You know the ones: times when you feel part of a cattle call, there in line to spend $25 on fake butter and soda, all too aware of the multiplex not as a physical space but a concept—the undignified end of a corporate conveyor belt that needs you, the consumer, to not think too hard about what came before, or who’s profiting afterward.\u003c/p>\n\u003cp>But then there are the other times: times you experience cinematic magic, at a theater you will love \u003cem>from that point on\u003c/em>—because the space became personal, served as the setting for a feeling that can’t be duplicated. The Castro Theatre, with its organist, screening \u003cem>Vertigo\u003c/em> annually, then turning around and hosting hundreds of adults in taffeta for a \u003cem>The Little Mermaid\u003c/em> sing-alongs. The Roxie Theatre, with its old-school projectionists, deciding, sure, let’s have people bring their dogs to \u003cem>Isle of Dogs\u003c/em>. I think a lot about the Oaks Theatre, at the top of Solano Ave. in Berkeley, a historic space that at one point employed a half-dozen of my high school friends. I think about a photo of a couple of them grinning, standing in front of the marquee, where a manager had spelled out their names on graduation day.\u003c/p>\n\u003cp>The fact that the Oaks closed in 2010—last I checked, its space is slated to become a climbing gym—is far from an anomaly. It’s hardly news that the movie theater business has struggled to keep up since the advent of on-demand streaming, while independent movie houses, without the \u003cem>Star Wars\u003c/em> and \u003cem>Jurassic World\u003c/em> blockbusters to bring in the big bucks, get the shortest end of every stick.\u003c/p>\n\u003cp>And, as a consumer, it’s all too easy to understand the trend. I have Netflix, and Hulu, and my parents’ HBO Go password at the ready.\u003c/p>\n\u003cp>But when I think on why the Grand Lake news feels so damn triumphant, I also remember being 8 years old—when, during the \u003ca href=\"https://www.solanoavenueassn.org/events/solano-avenue-stroll/\" target=\"_blank\" rel=\"noopener noreferrer\">Solano Stroll\u003c/a>, if you weren’t the kind of kid to be in a marching band or dance troupe that actually took part in the bright, loud parade, you were likely the kind of kid who could be found at the Oaks. There, in the dark, you could stuff yourself with candy, surrounded by other kids more entranced by a movie screen than a dunk tank, watching the classic cartoons they played all day for free, just that day, once a year.\u003c/p>\n\u003cp>Who knows? Maybe some of them grew up to make movies too.\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=\"auto, (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>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "fire-inspection-at-oakland-art-space-prompts-renegade-show-at-lake-merritt",
"title": "Fire Inspection at Oakland Art Space Prompts ‘Renegade’ Show at Lake Merritt",
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"content": "\u003cp>On Friday, Aug. 17, Grumpy Green was busy installing a group exhibition at the East Oakland art space known as Trash Palace when they heard loud knocking at the door. As soon as they opened it, fire inspector Miguel Villanueva planted his foot in the doorway. Green said Villanueva told them the art and furniture temporarily staged in the hallway posed a life-safety risk, giving him “probable cause” to enter the building without their permission.\u003c/p>\n\u003cp>Green and another artist involved in the show, Daria Lourd, debated Villanueva and another official until he decided to call his supervisor. “I asked for documents, and they said they didn’t need any,” Lourd said, adding that the landlord hadn’t notified the tenants of the pending inspection. “They said we were actually on some kind of list.”\u003c/p>\n\u003cfigure id=\"attachment_13839872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-800x833.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-800x833.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-160x167.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-768x800.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1020x1062.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1153x1200.jpg 1153w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1180x1229.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-960x1000.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-240x250.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-520x541.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2.jpg 1844w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A banner by Aida Lizalde at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two more officials soon arrived, as well as the space’s leaseholder, Anthony Walter, who consented to the inspection. “They came in and took pictures of everything and threatened to red-tag the place,” said Green, calling their tone accusatory. “They even stopped to take pictures of a pair of boots that had ‘all cops are bullies’ written on them.”\u003c/p>\n\u003cp>Villanueva, who didn’t respond to an interview request, left the tenants with a two-page report, reviewed by KQED, listing “deficiencies” related to fire extinguishers, carbon monoxide detectors, exposed electrical fixtures, and “housekeeping,” as well as orders to change the building’s “use or occupancy,” writing that it’s “not permitted for assembly.”\u003c/p>\n\u003cp>Billed \u003cem>Are You Comfortable?\u003c/em>, the art show Green had been setting up before the inspection originally featured 16 artists “exploring queer sanctuary,” according to its flyer. The visit by Villanueva, and a fear of officials or police returning during the event, inspired the organizers to relocate the show, and they spread word of a “renegade location” to be announced the next afternoon. On Saturday at 5pm, they shared a map with a line leading from Grand Avenue to the Lake Merritt bandstand.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I spent four months working on a floor plan for that show,” Green said. “So I figured we should just do it outside in public at the lake—go out, take up space, and not be silenced.”\u003c/p>\n\u003cfigure id=\"attachment_13839871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-800x600.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation by Zelda Hazel at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At about the time police officers were shining flashlights into Trash Palace that Saturday night, looking for the exhibition, more than 50 people milled around the bandstand at the lake. With the help of a generator, music echoed and projections spilled across an improvised screen. An artist named Neut cooked on a camping stove, while another created a playpen in an effort to encourage childhood regression. “We didn’t cancel or retreat to some tiny space,” Green said. “It sent a message.” They placed a banner on the staircase, reading “ARE YOU COMFORTABLE?”\u003c/p>\n\u003cp>Guerrilla Davis hung photos he’d taken of Adonis Emory posing with materials inside the construction site for Brooklyn Basin—a sprawling development surrounding and, some say, jeopardizing the \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">historic artist enclaves at 5th Avenue Point\u003c/a>. An accompanying text, taped to the bandstand pillars, criticized city government, particularly tourism bureau Visit Oakland, for accelerating gentrification: “How are we supposed to thrive when our work and/or live spaces are threatened and pulled out from under us?”\u003c/p>\n\u003cp>Lourd, a DJ and producer, has helped organize workshops and other events at Trash Palace for more than a year. “It was a very queer and trans-centric space—most of the shows were based on giving space to marginalized artists,” she said. But disagreements over the future of the space, which was mostly known by word of mouth, prompted many studio tenants to move out before the inspection, she said. “It shows spaces like this are changing—if not because of code enforcement, then because of people with more money.”\u003c/p>\n\u003cfigure id=\"attachment_13839874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-800x527.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1200x790.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1180x777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guerrilla Davis photographs at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to city records, a zoning complaint from Dec. 2016 regarding unpermitted residential use was marked “no violation found,” and in July 2017 officials sent a nuisance notice to the owner, Hi-Suk Dong, regarding “unpermitted special events.” (Dong, who also co-owns downtown eatery Mua, did not respond to interview requests.)\u003c/p>\n\u003cp>Walter, a photographer who signed a new lease days before the inspection, said that the attention from officials is motivating him to legitimize the space as a commercial studio complex with a gallery and a new name. He’s in touch with Safer DIY Spaces, an advocacy group formed in the wake of the Ghost Ship fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We still want it to be queer and trans-oriented,” Walter said. “The vision is really just for it not to fall to developers.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, Aug. 17, Grumpy Green was busy installing a group exhibition at the East Oakland art space known as Trash Palace when they heard loud knocking at the door. As soon as they opened it, fire inspector Miguel Villanueva planted his foot in the doorway. Green said Villanueva told them the art and furniture temporarily staged in the hallway posed a life-safety risk, giving him “probable cause” to enter the building without their permission.\u003c/p>\n\u003cp>Green and another artist involved in the show, Daria Lourd, debated Villanueva and another official until he decided to call his supervisor. “I asked for documents, and they said they didn’t need any,” Lourd said, adding that the landlord hadn’t notified the tenants of the pending inspection. “They said we were actually on some kind of list.”\u003c/p>\n\u003cfigure id=\"attachment_13839872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-800x833.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-800x833.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-160x167.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-768x800.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1020x1062.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1153x1200.jpg 1153w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-1180x1229.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-960x1000.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-240x250.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-375x390.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-520x541.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace2-2.jpg 1844w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A banner by Aida Lizalde at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two more officials soon arrived, as well as the space’s leaseholder, Anthony Walter, who consented to the inspection. “They came in and took pictures of everything and threatened to red-tag the place,” said Green, calling their tone accusatory. “They even stopped to take pictures of a pair of boots that had ‘all cops are bullies’ written on them.”\u003c/p>\n\u003cp>Villanueva, who didn’t respond to an interview request, left the tenants with a two-page report, reviewed by KQED, listing “deficiencies” related to fire extinguishers, carbon monoxide detectors, exposed electrical fixtures, and “housekeeping,” as well as orders to change the building’s “use or occupancy,” writing that it’s “not permitted for assembly.”\u003c/p>\n\u003cp>Billed \u003cem>Are You Comfortable?\u003c/em>, the art show Green had been setting up before the inspection originally featured 16 artists “exploring queer sanctuary,” according to its flyer. The visit by Villanueva, and a fear of officials or police returning during the event, inspired the organizers to relocate the show, and they spread word of a “renegade location” to be announced the next afternoon. On Saturday at 5pm, they shared a map with a line leading from Grand Avenue to the Lake Merritt bandstand.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I spent four months working on a floor plan for that show,” Green said. “So I figured we should just do it outside in public at the lake—go out, take up space, and not be silenced.”\u003c/p>\n\u003cfigure id=\"attachment_13839871\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839871\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-800x600.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace1-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation by Zelda Hazel at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At about the time police officers were shining flashlights into Trash Palace that Saturday night, looking for the exhibition, more than 50 people milled around the bandstand at the lake. With the help of a generator, music echoed and projections spilled across an improvised screen. An artist named Neut cooked on a camping stove, while another created a playpen in an effort to encourage childhood regression. “We didn’t cancel or retreat to some tiny space,” Green said. “It sent a message.” They placed a banner on the staircase, reading “ARE YOU COMFORTABLE?”\u003c/p>\n\u003cp>Guerrilla Davis hung photos he’d taken of Adonis Emory posing with materials inside the construction site for Brooklyn Basin—a sprawling development surrounding and, some say, jeopardizing the \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">historic artist enclaves at 5th Avenue Point\u003c/a>. An accompanying text, taped to the bandstand pillars, criticized city government, particularly tourism bureau Visit Oakland, for accelerating gentrification: “How are we supposed to thrive when our work and/or live spaces are threatened and pulled out from under us?”\u003c/p>\n\u003cp>Lourd, a DJ and producer, has helped organize workshops and other events at Trash Palace for more than a year. “It was a very queer and trans-centric space—most of the shows were based on giving space to marginalized artists,” she said. But disagreements over the future of the space, which was mostly known by word of mouth, prompted many studio tenants to move out before the inspection, she said. “It shows spaces like this are changing—if not because of code enforcement, then because of people with more money.”\u003c/p>\n\u003cfigure id=\"attachment_13839874\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839874\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-800x527.jpg\" alt=\"Part of the exhibition 'Are You Comfortable?,' staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1200x790.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-1180x777.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-960x632.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/TrashPalace4-2-520x342.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guerrilla Davis photographs at the exhibition ‘Are You Comfortable?,’ staged at the Lake Merritt bandstand after a fire inspection at Trash Palace in Oakland. \u003ccite>(Sam Lefebvre)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to city records, a zoning complaint from Dec. 2016 regarding unpermitted residential use was marked “no violation found,” and in July 2017 officials sent a nuisance notice to the owner, Hi-Suk Dong, regarding “unpermitted special events.” (Dong, who also co-owns downtown eatery Mua, did not respond to interview requests.)\u003c/p>\n\u003cp>Walter, a photographer who signed a new lease days before the inspection, said that the attention from officials is motivating him to legitimize the space as a commercial studio complex with a gallery and a new name. He’s in touch with Safer DIY Spaces, an advocacy group formed in the wake of the Ghost Ship fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We still want it to be queer and trans-oriented,” Walter said. “The vision is really just for it not to fall to developers.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "oaklands-wax-idols-cancel-tour-announce-indefinite-hiatus",
"title": "Oakland's Wax Idols Cancel Tour, Announce Indefinite Hiatus",
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"content": "\u003cp>Wax Idols, an Oakland post-punk band with a national following, announced \u003ca href=\"https://www.facebook.com/waxidols/posts/1959871824051820\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a> Tuesday that they’re taking an indefinite hiatus due to “personal issues.” The band is canceling their upcoming East Coast tour dates with goth band Shadow Age and offering full refunds to fans. [contextly_sidebar id=”p9tjVO8DqvkbnhqdVP7LFNyAYUMGo71e”]\u003c/p>\n\u003cp>“Thank you to everyone who has supported this band through the 9 years since I put ‘All Too Human’ on Myspace,” bandleader Hether Fortune wrote in the statement. “What started as a glorified solo project\u003cspan class=\"text_exposed_show\"> has morphed and evolved many times to include & highlight the talents of some extraordinary people and I remain humbled and eternally grateful for all of their contributions to this dream of mine. I’m no soothsayer – I don’t know what the future holds – but for now, we say goodbye.”\u003c/span>\u003c/p>\n\u003cp>Wax Idols released their latest album, \u003cem>Happy Ending\u003c/em>, in May. In an \u003ca href=\"https://www.kqed.org/arts/13829142/hether-fortune-talks-wax-idols-wild-path-to-their-happy-ending\" target=\"_blank\" rel=\"noopener\">April interview\u003c/a> with KQED Arts’ Ned Raggett, Fortune mentioned some difficulties during the album’s creation but kept her statements intentionally vague.\u003c/p>\n\u003cp>“We started writing the record in the summer of 2016 and started recording it, then scrapped it all,” she said at the time. “When it came time to get back to it, nothing felt right anymore. It felt almost too funny, too light. Some of the original dark humor and sarcasm is still intact because that’s how I am as a writer. It was going to be a lot more conceptual before. Now it feels very real.”\u003c/p>\n\u003cp>Bradon Stosuy, a music critic and founder of \u003ca href=\"https://thecreativeindependent.com/about/\" target=\"_blank\" rel=\"noopener\">The Creative Independent\u003c/a>, an online resource for artists, announced on Twitter that he’s now managing Fortune as a solo artist, promising more music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/brandonstosuy/status/1034156664247779330\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Fortune will perform solo on Aug. 31 at Elsewhere in Brooklyn and at Basilica Soundscape, a festival taking place Sept. 14-16 in Hudson, New York.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wax Idols, an Oakland post-punk band with a national following, announced \u003ca href=\"https://www.facebook.com/waxidols/posts/1959871824051820\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a> Tuesday that they’re taking an indefinite hiatus due to “personal issues.” The band is canceling their upcoming East Coast tour dates with goth band Shadow Age and offering full refunds to fans. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“Thank you to everyone who has supported this band through the 9 years since I put ‘All Too Human’ on Myspace,” bandleader Hether Fortune wrote in the statement. “What started as a glorified solo project\u003cspan class=\"text_exposed_show\"> has morphed and evolved many times to include & highlight the talents of some extraordinary people and I remain humbled and eternally grateful for all of their contributions to this dream of mine. I’m no soothsayer – I don’t know what the future holds – but for now, we say goodbye.”\u003c/span>\u003c/p>\n\u003cp>Wax Idols released their latest album, \u003cem>Happy Ending\u003c/em>, in May. In an \u003ca href=\"https://www.kqed.org/arts/13829142/hether-fortune-talks-wax-idols-wild-path-to-their-happy-ending\" target=\"_blank\" rel=\"noopener\">April interview\u003c/a> with KQED Arts’ Ned Raggett, Fortune mentioned some difficulties during the album’s creation but kept her statements intentionally vague.\u003c/p>\n\u003cp>“We started writing the record in the summer of 2016 and started recording it, then scrapped it all,” she said at the time. “When it came time to get back to it, nothing felt right anymore. It felt almost too funny, too light. Some of the original dark humor and sarcasm is still intact because that’s how I am as a writer. It was going to be a lot more conceptual before. Now it feels very real.”\u003c/p>\n\u003cp>Bradon Stosuy, a music critic and founder of \u003ca href=\"https://thecreativeindependent.com/about/\" target=\"_blank\" rel=\"noopener\">The Creative Independent\u003c/a>, an online resource for artists, announced on Twitter that he’s now managing Fortune as a solo artist, promising more music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Fortune will perform solo on Aug. 31 at Elsewhere in Brooklyn and at Basilica Soundscape, a festival taking place Sept. 14-16 in Hudson, New York.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1984, Dixi and Mario Carrillo bought the storefront next door to their home in East Oakland. A few years later, they bought the property next to that. The couple then combined the two parcels, converted them to live-work, and marketed the long, narrow loft units to other artists like themselves. Mario, a painter, gradually added mosaic tiles to the buildings’ exteriors: at first a simple row of red rectangles, and later intricate, jazzily patterned shards of color.\u003c/p>\n\u003cp>“The white in front of 808—that was his last piece,” Dixi said recently in her late husband’s studio, where ceramic casts of his face filled a table. “He had a stroke. When I visited him in the hospital, he said, ‘I finished the tiles, but they still need to be glazed.’”\u003c/p>\n\u003cp>[contextly_sidebar id=”3mec7epR936g3lpQ0eBqi663stZbHk0a”]\u003c/p>\n\u003cp>Dixi, 74, a landscape photographer, contemplated selling the 7-unit rental property next to her home when she retired five years ago, but realtors gave her pause. One wanted to make the building his office, and Dixi, after learning of his shoddy record as a property manager, declined the $1.4 million offer. She was nervous for her tenants, two of whom have been there more than 25 years, and she also felt protective of Mario’s artwork.\u003c/p>\n\u003cp>Instead, Dixi recently sold the property to the \u003ca href=\"https://oakclt.org/\">Oakland Community Land Trust\u003c/a> (OakCLT), a nonprofit aiming to preserve affordable housing through the acquisition and stewardship of land. Steve King, the organization’s director, happens to be one of her tenants, and helped engineer a $1.1 million deal for the property that will maintain the tenants’ low rent. (King lives in a separate rental of Dixi’s that’s not part of the sale.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s all kinds of below market-rate housing in East Oakland,” King said. “A speculator sees an opportunity to raise rent where we see an opportunity to preserve it.”\u003c/p>\n\u003cfigure id=\"attachment_13839548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-800x533.jpg\" alt=\"Dixi Carrillo.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13839548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dixi Carrillo. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>OakCLT, which was founded amid the foreclosure crisis in 2009, owns 24 properties—mostly single-family homes bound by affordability covenants where the nonprofit is the permanent land steward. But last year OakCLT acquired its \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\">first mixed-use building\u003c/a>: a two-story structure containing four social justice-oriented storefronts and eight housing units. Recently it also bought the \u003ca href=\"https://www.sfchronicle.com/restaurants/article/Haste-Muerte-created-a-safe-space-for-Oakland-13147211.php\">commercial-residential building\u003c/a> containing controversial cafe Hasta Muerte.\u003c/p>\n\u003cp>The acquisition of Dixi Carrillo’s property, at 800 E 24th St., marks its first foray into live-work spaces, which have long provided emerging and underground artists affordable alternatives to remote studios. Now Oakland artists are increasingly looking to land trusts and collective ownership models to combat displacement and cultural erasure as real-estate competition intensifies. (The residents of 5th Avenue live-work complex Shadetree \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">recently bought their waterfront home\u003c/a> in a land trust-inspired arrangement.) What’s to stop OakCLT from continuing to scale to meet the need? \u003c/p>\n\u003cp>“It’s a question of values and political will,” King said. “We’re trying to make the case for more resources for community-driven projects like this.”\u003c/p>\n\u003cp>It’s also a question of sellers who are willing—and patient.\u003c/p>\n\u003cp>Dixi and King started discussing the sale four years ago, but couldn’t finance the transaction without raising the current tenants’ rent. Then, in 2016, King participated in Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, which ended up citing OakCLT as a model for protecting artist enclaves vulnerable to displacement in its final report. That November, Alameda County voters also approved Measure KK, issuing $600 million in bond funds for infrastructure improvements and affordable housing.\u003c/p>\n\u003cp>To finance the E. 24th St. acquisition, King applied for $900,000 in KK funds, and OakCLT put up $200,000 in equity. The sale closed July 10. “We bought it because we cared about the neighborhood and preserving the environment,” Dixi said. “Now I’ve sold it for the same reason.” The units range from 800-2,000 square feet, with rent averaging $1 per square foot. The residents will continue to pay rent to the land trust, but are considering a limited-equity cooperative, which would give them an ownership stake.\u003c/p>\n\u003cfigure id=\"attachment_13839549\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13839549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E 24th St. residents with Dixi Carrillo. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Residents include Myles Boisen, an audio engineer and decades-long fixture of local experimental music who moved in 25 years ago; and Polly Moller Springhorn, who lives with her partner and bandmate Tim Walters in a lofted unit with a recording studio. Springhorn moved in three years ago, replacing her guitar teacher. “My old neighbors didn’t appreciate me practicing my voice or flute or guitar,” she said. Now she and Walters rehearse Tuesday evenings; the neighbor’s Malian group practices on Mondays.\u003c/p>\n\u003cp>Dixi said she plans to use the proceeds from the sale to help her daughter, a radio producer in New York, buy a house in Brooklyn. She pointed out more of Mario’s art: a gate made from interlocking chrome circles (which a stolen car drove through mid-construction), and an excruciatingly detailed wooden-door carving. “He went through three Dremels,” she said, noting that OakCLT is in talks with local preservationist Betty Marvin, who led the city’s Cultural Heritage Survey, about memorializing his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, at least, his studio will be preserved, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1984, Dixi and Mario Carrillo bought the storefront next door to their home in East Oakland. A few years later, they bought the property next to that. The couple then combined the two parcels, converted them to live-work, and marketed the long, narrow loft units to other artists like themselves. Mario, a painter, gradually added mosaic tiles to the buildings’ exteriors: at first a simple row of red rectangles, and later intricate, jazzily patterned shards of color.\u003c/p>\n\u003cp>“The white in front of 808—that was his last piece,” Dixi said recently in her late husband’s studio, where ceramic casts of his face filled a table. “He had a stroke. When I visited him in the hospital, he said, ‘I finished the tiles, but they still need to be glazed.’”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Dixi, 74, a landscape photographer, contemplated selling the 7-unit rental property next to her home when she retired five years ago, but realtors gave her pause. One wanted to make the building his office, and Dixi, after learning of his shoddy record as a property manager, declined the $1.4 million offer. She was nervous for her tenants, two of whom have been there more than 25 years, and she also felt protective of Mario’s artwork.\u003c/p>\n\u003cp>Instead, Dixi recently sold the property to the \u003ca href=\"https://oakclt.org/\">Oakland Community Land Trust\u003c/a> (OakCLT), a nonprofit aiming to preserve affordable housing through the acquisition and stewardship of land. Steve King, the organization’s director, happens to be one of her tenants, and helped engineer a $1.1 million deal for the property that will maintain the tenants’ low rent. (King lives in a separate rental of Dixi’s that’s not part of the sale.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s all kinds of below market-rate housing in East Oakland,” King said. “A speculator sees an opportunity to raise rent where we see an opportunity to preserve it.”\u003c/p>\n\u003cfigure id=\"attachment_13839548\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-800x533.jpg\" alt=\"Dixi Carrillo.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13839548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dixi Carrillo. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>OakCLT, which was founded amid the foreclosure crisis in 2009, owns 24 properties—mostly single-family homes bound by affordability covenants where the nonprofit is the permanent land steward. But last year OakCLT acquired its \u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\">first mixed-use building\u003c/a>: a two-story structure containing four social justice-oriented storefronts and eight housing units. Recently it also bought the \u003ca href=\"https://www.sfchronicle.com/restaurants/article/Haste-Muerte-created-a-safe-space-for-Oakland-13147211.php\">commercial-residential building\u003c/a> containing controversial cafe Hasta Muerte.\u003c/p>\n\u003cp>The acquisition of Dixi Carrillo’s property, at 800 E 24th St., marks its first foray into live-work spaces, which have long provided emerging and underground artists affordable alternatives to remote studios. Now Oakland artists are increasingly looking to land trusts and collective ownership models to combat displacement and cultural erasure as real-estate competition intensifies. (The residents of 5th Avenue live-work complex Shadetree \u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">recently bought their waterfront home\u003c/a> in a land trust-inspired arrangement.) What’s to stop OakCLT from continuing to scale to meet the need? \u003c/p>\n\u003cp>“It’s a question of values and political will,” King said. “We’re trying to make the case for more resources for community-driven projects like this.”\u003c/p>\n\u003cp>It’s also a question of sellers who are willing—and patient.\u003c/p>\n\u003cp>Dixi and King started discussing the sale four years ago, but couldn’t finance the transaction without raising the current tenants’ rent. Then, in 2016, King participated in Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, which ended up citing OakCLT as a model for protecting artist enclaves vulnerable to displacement in its final report. That November, Alameda County voters also approved Measure KK, issuing $600 million in bond funds for infrastructure improvements and affordable housing.\u003c/p>\n\u003cp>To finance the E. 24th St. acquisition, King applied for $900,000 in KK funds, and OakCLT put up $200,000 in equity. The sale closed July 10. “We bought it because we cared about the neighborhood and preserving the environment,” Dixi said. “Now I’ve sold it for the same reason.” The units range from 800-2,000 square feet, with rent averaging $1 per square foot. The residents will continue to pay rent to the land trust, but are considering a limited-equity cooperative, which would give them an ownership stake.\u003c/p>\n\u003cfigure id=\"attachment_13839549\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13839549\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/KQED_800_24_Graham_Holoch_8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">E 24th St. residents with Dixi Carrillo. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Residents include Myles Boisen, an audio engineer and decades-long fixture of local experimental music who moved in 25 years ago; and Polly Moller Springhorn, who lives with her partner and bandmate Tim Walters in a lofted unit with a recording studio. Springhorn moved in three years ago, replacing her guitar teacher. “My old neighbors didn’t appreciate me practicing my voice or flute or guitar,” she said. Now she and Walters rehearse Tuesday evenings; the neighbor’s Malian group practices on Mondays.\u003c/p>\n\u003cp>Dixi said she plans to use the proceeds from the sale to help her daughter, a radio producer in New York, buy a house in Brooklyn. She pointed out more of Mario’s art: a gate made from interlocking chrome circles (which a stolen car drove through mid-construction), and an excruciatingly detailed wooden-door carving. “He went through three Dremels,” she said, noting that OakCLT is in talks with local preservationist Betty Marvin, who led the city’s Cultural Heritage Survey, about memorializing his work.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For now, at least, his studio will be preserved, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" rel=\"noopener\" target=\"_blank\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>If there’s one word to describe SOL Development, it’s \u003cem>intent\u003c/em>.\u003c/p>\n\u003cp>The Oakland-based hip-hop group, whose recent song “\u003ca href=\"https://www.youtube.com/watch?v=tVxb76h-pXs\" rel=\"noopener\" target=\"_blank\">Helicopter\u003c/a>” instantly became \u003ca href=\"https://www.kqed.org/arts/13829305/sol-development-the-black-experience-and-hip-hop-as-healing\" rel=\"noopener\" target=\"_blank\">a KQED Arts favorite\u003c/a>, rarely does anything without intention. And in a commercial music landscape that works fast to monetize the latest trend, SOL Development is thoughtful and deliberate in their moves, learning from the knowledge of their predecessors, playing the long game. \u003c/p>\n\u003cp>That sort of patient approach could come from their individual roles as founders and educators at Roses in Concrete community school in Oakland, named for a famous Tupac Shakur poem. It could come from their own life experience in black communities in Sacramento, San Francisco, Washington D.C. and beyond. But ask any of the members, and they’ll eventually attribute it to their light—a term they use often, with multiple meanings of love, wisdom, spirituality and centeredness.\u003c/p>\n\u003cp>I recently spoke with three members of SOL Development (the “SOL” stands for “Source Of Light”) about their work: Karega Bailey, Felicia Gangloff-Bailey, and Lauren Adams. Together with fourth member Brittany Tanner, they’re natural honorees for our Bay Brilliant series.\u003c/p>\n\u003cfigure id=\"attachment_13839072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_horiz3-800x571.jpg\" alt=\"Sol Development.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oakland has this amazing history of activist movements and music, which continues to today. How does Oakland and the Bay Area inform your work as a group?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: The Bay Area represents a conversation-based liberation. I know people go around the world crying equity all the time, but really it’s been a region that has shown itself heavily in elevating organized voices. Oakland is just a rich, fertile oil here filled with movement for liberation. Roses in Concrete lends itself to a lot of Panther philosophy, too. So it was definitely the elders here and what has been done before.\u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: I’d like our music to provide a soundtrack for the black experience for freedom, for justice, for hope, for freedom fighting. It’s no coincidence that we were able to come here to be a part of opening this school in the home of the Panthers. I value being in this space. It’s like a liberation town.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tVxb76h-pXs\u003c/p>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: The way that it informs our work, especially as educators here in the Bay Area, is that we see what happens when the black experience isn’t treated with humanity, with care, with love. You see what Tupac called “roses in concrete”—these beautiful children that we teach every day, and we see the struggles that not only they go through, but their parents have gone through, and their grandparents, when they come to pick up their family. When I listen to music and what it’s standing for, it has a way of baptizing me all over again to continue working toward liberation and freedom. But the black experience in the Bay Area gives us a whole other leg to stand on— or rather, shoulders to stand on, because we’re standing on the shoulders of the Panthers, and the Brown Berets, and everybody else that came through Oakland and did their part.\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: When I got to Oakland, I learned of the great migration and how this music has really traveled from the South and New Orleans and gathered in West Oakland. I realized that Black American music can have a spiritual context of its own—and it’s not to be confused with spiritual music; the music has spirit. We came on the heels of that. The music has a migratory pattern, and this was the application place. A place where art and activism really blends incredibly well.\u003c/p>\n\u003cfigure id=\"attachment_13839256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-800x1120.jpg\" alt=\"SOL Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karega Bailey from SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s this idea in mainstream circles that rap with a direct, positive message is this outdated thing. That it got branded as “conscious rap” and seen as a relic of the ’90s while a new wave of SoundCloud rap is taking over. Do you think music with a positive message ever really goes out of style?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: Does people’s need for light ever go out of style? I don’t think it does. Insofar as the human experience continues and evolves, there’s always going to be that need to be that reminder of hope. Black, brown, API, European, it doesn’t matter who you are, there’s a quest for light that every human experiences. Circumstances around us are as dismal as they’ve been, so no, it ain’t going out of style no time soon. In fact, we’re repackaging that style.\u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: When we first started performing in Oakland, it was at First Friday. People are walking around, you kind of get into whatever you get into, however you flow and whatever your vibe is. And after every show, people would say “Thank you, I needed to hear that.” They’re like, I was looking for this. People, they crave it.\u003c/p>\n\u003cfigure id=\"attachment_13839071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_horiz2-800x571.jpg\" alt=\"Sol Development.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: The only way this goes out of style is that every issue or problem that we are discussing in our music goes away. You know what I’m saying? Donny Hathaway, Curtis Mayfield, Roberta Flack, Nina Simone, these people were putting out positive messages during the darkest of times, so that people were aware of what was going on in the black experience, and what was happening in neighborhoods. \u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: Genre umbrellas are often too large to capture the nuances of what an artist really comes to bring. If you call it conscious, however you experience consciousness, you’ll then define conscious rap as whatever conscious is to you. If you’re in a space where people are constantly banging on the system, and you call that conscious, then you’ll think that is what we came to do. But what we came to do is really develop the light, which means that sometimes we have to go to the darkest spaces to emit that light. Sometimes those darkest spaces might be social issues. Sometimes those darkest spaces might be political issues. Sometimes those darkest spaces might be relegated specifically to the black experience. But if we make you conscious of the light, then yeah, you can be conscious. That’s the consciousness we’re bringing. That light. \u003c/p>\n\u003cfigure id=\"attachment_13839257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-800x1120.jpg\" alt=\"Lauren Adams from SOL Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Adams from SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One word comes up a lot, talking about your music: healing. You’ve personally had family that’s been incarcerated, you’ve had family that’s been murdered. When you put out a song like “Helicopter,” you must have deep discussions among each other when you create a song like that. What are those discussions like? You talk about needing to go into the darkness before providing light. What’s that process like as a band? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: It’s beautiful.\u003c/p>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: Those conversations happen, probably one, more often than you think. These are friendships that are 15-plus years in, so these conversations started in Sacramento, on a basketball court, when I first met Felicia and Karega, and these conversations continued while we were in undergrad at Hampton University, and now as teachers together. You have a member who sees one of his darkest days and you’re listening to the music that he’s putting out because of the tragedy. You’re reading about how he’s surrendering to everything that’s going on in his black experience. And you come back together in Oakland and you’re discussing, again, all these experiences together and what you went through.\u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: It’s necessary for your wellness, for your mental health. \u003c/p>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: Part of this trauma that you’ve just experienced, how did you keep your light on during this? Or what did I do as a friend to help keep your light on during this time? And now we’re opening this conversation to everybody else. We no longer want to just have it between the four or five of us. We want to invite everybody to see that in your darkest moments, your tribe is going to keep your light on, your faith, your black joy. \u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: We make the music. But you can just look into the audience and see who’s carrying the light and you feel them on that level. They are an extension of us and we are an extension of them. It’s an infinity group when you really look at it, of folks who have similar experiences. A place to practice, a place to sympathize. It’s a place to become healthy. \u003c/p>\n\u003cfigure id=\"attachment_13839255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-800x1120.jpg\" alt=\"Felicia Gangloff-Bailey from SOL Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Gangloff-Bailey from SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re all teachers now, making an impact on young kids. What are some people or places in the Bay Area that made you who you are today?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: I’d say Jennifer Johns and Kev Choice—that was like in the first few days of coming here, Kev Choice and I had did a show in Sacramento where we opened up for Mos Def. I’d also like to name The Way Church. And the McBrides: Jim McBride, Michael McBride and BJ McBride. The McBride family. Roses in Concrete, naturally, that’s our hub, that’s our home. Mercedes Martin and Tres Mercedes. YBG, Young Gifted and Black, the young folks. And man, the Lake, for sure. Lake Merritt is like an open history book. You know what I mean? If you get a chance to experience what it is, and to hear the stories of how it used to be. It’s like an ongoing family reunion.\u003c/p>\n\u003cfigure id=\"attachment_13839254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-800x1120.jpg\" alt=\"Brittany Tanner from SOL Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Tanner from SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: A lot of the black churches here in Oakland. Olivet Church, Pastor Humphrey passed away, but they brought a certain brand of black spirituality that was definitely open, and still is to this day. But as Karega said, the McBrides, they’re from San Francisco. Some of the things that they found in the city mirrored everything they’ve seen in Oakland and Berkeley, and it’s inspiring to see them use their light in such a powerful and unapologetically black way, that hasn’t been seen. Lastly, I would say definitely my grandmother. She let me experience Oakland for myself. She let me walk around the neighborhood with my little cousins in tow and let me lead them to the corner store and to the park and to other friends’ houses. Just showing us never to be afraid of our people, never be afraid to be in spaces where our people live and where they gather. So I owe a great deal of that to her, being here in Oakland.\u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: My granny’s brother. My granny is here from Louisiana and worked here on the railroads and in Alameda. But her brother, he actually just passed not too long ago. He was 95 but he’d lived here for many, many years. Roses in Concrete, of course, because it was that bridge that brought me back. I would also have to say one of my very first experiences coming into Oakland as an adult was the Umoja Festival and I will never forget how that felt. Being in D.C. for so long, and living that black experience in D.C.—which is an easy experience, almost, because it’s just \u003cem>so\u003c/em> black—and then coming to Oakland and being at the Umoja Fest and seeing how being black was celebrated here in California. That was just mind-blowing for me. I had never seen that before.\u003c/p>\n\u003cfigure id=\"attachment_13839073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_vert1-800x1120.jpg\" alt=\"Sol Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: Well, if I can’t secure an ideal, I still want to secure a place for us to be and exist. Oakland is changing and spaces are becoming limited; we’ve seen that with the Alena Museum and what’s going on with them. So as Oakland changes, and keeping a space for artist communities, live music is a real thing. Having spaces that honor live music. I can’t stress it enough. Lastly, man, ways for artists to monetize so the community is able to support them as they want to. \u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: Oakland is so unique in terms of valuing community. I didn’t learn that until I moved here. So, to what Karega said, don’t push us out. Just don’t push us out. \u003c/p>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: I’ve seen what the music scene here in the Bay has been in the past, and I always wanted the Bay Area to be respected more for what we do bring to the musical table. I look at all the many artists who have come out of Oakland and there’s a ceiling placed above them, being overshadowed by the larger musical scene in Southern California. It’s finally beginning to open up for the Bay to get a little more sunshine. I tell people, “We’ve got the sun out here too!” Since I’ve been back in Oakland, I’ve seen an influx of tourism, and I’m from San Francisco, so I know what tourism looks like in your city. People are coming in droves, and I think this is a perfect opportunity for musicians, local artists, local creatives to finally get the whole world looking at them. I think we’re in a great spot.\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Learn more about SOL Development \u003ca href=\"http://soldevelopmentmusic.com/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to KQED Arts’ \u003ca href=\"https://www.kqed.org/arts/tag/bay-brilliant\" rel=\"noopener\" target=\"_blank\">Bay Brilliant\u003c/a>, a series celebrating 10 local artists, creatives and makers who are pushing boundaries in 2018. Driven by passion for their own disciplines—music, dance, theater, visual art, performance, writing, illustration and more—these artists are true vanguards paving the way in their respective communities.\u003c/em>\u003c/p>\n\u003cp>If there’s one word to describe SOL Development, it’s \u003cem>intent\u003c/em>.\u003c/p>\n\u003cp>The Oakland-based hip-hop group, whose recent song “\u003ca href=\"https://www.youtube.com/watch?v=tVxb76h-pXs\" rel=\"noopener\" target=\"_blank\">Helicopter\u003c/a>” instantly became \u003ca href=\"https://www.kqed.org/arts/13829305/sol-development-the-black-experience-and-hip-hop-as-healing\" rel=\"noopener\" target=\"_blank\">a KQED Arts favorite\u003c/a>, rarely does anything without intention. And in a commercial music landscape that works fast to monetize the latest trend, SOL Development is thoughtful and deliberate in their moves, learning from the knowledge of their predecessors, playing the long game. \u003c/p>\n\u003cp>That sort of patient approach could come from their individual roles as founders and educators at Roses in Concrete community school in Oakland, named for a famous Tupac Shakur poem. It could come from their own life experience in black communities in Sacramento, San Francisco, Washington D.C. and beyond. But ask any of the members, and they’ll eventually attribute it to their light—a term they use often, with multiple meanings of love, wisdom, spirituality and centeredness.\u003c/p>\n\u003cp>I recently spoke with three members of SOL Development (the “SOL” stands for “Source Of Light”) about their work: Karega Bailey, Felicia Gangloff-Bailey, and Lauren Adams. Together with fourth member Brittany Tanner, they’re natural honorees for our Bay Brilliant series.\u003c/p>\n\u003cfigure id=\"attachment_13839072\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_horiz3-800x571.jpg\" alt=\"Sol Development.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839072\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz3.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Oakland has this amazing history of activist movements and music, which continues to today. How does Oakland and the Bay Area inform your work as a group?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: The Bay Area represents a conversation-based liberation. I know people go around the world crying equity all the time, but really it’s been a region that has shown itself heavily in elevating organized voices. Oakland is just a rich, fertile oil here filled with movement for liberation. Roses in Concrete lends itself to a lot of Panther philosophy, too. So it was definitely the elders here and what has been done before.\u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: I’d like our music to provide a soundtrack for the black experience for freedom, for justice, for hope, for freedom fighting. It’s no coincidence that we were able to come here to be a part of opening this school in the home of the Panthers. I value being in this space. It’s like a liberation town.\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/tVxb76h-pXs'\n title='//www.youtube.com/embed/tVxb76h-pXs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lauren\u003c/strong>: The way that it informs our work, especially as educators here in the Bay Area, is that we see what happens when the black experience isn’t treated with humanity, with care, with love. You see what Tupac called “roses in concrete”—these beautiful children that we teach every day, and we see the struggles that not only they go through, but their parents have gone through, and their grandparents, when they come to pick up their family. When I listen to music and what it’s standing for, it has a way of baptizing me all over again to continue working toward liberation and freedom. But the black experience in the Bay Area gives us a whole other leg to stand on— or rather, shoulders to stand on, because we’re standing on the shoulders of the Panthers, and the Brown Berets, and everybody else that came through Oakland and did their part.\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: When I got to Oakland, I learned of the great migration and how this music has really traveled from the South and New Orleans and gathered in West Oakland. I realized that Black American music can have a spiritual context of its own—and it’s not to be confused with spiritual music; the music has spirit. We came on the heels of that. The music has a migratory pattern, and this was the application place. A place where art and activism really blends incredibly well.\u003c/p>\n\u003cfigure id=\"attachment_13839256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-800x1120.jpg\" alt=\"SOL Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Karega_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Karega Bailey from SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>There’s this idea in mainstream circles that rap with a direct, positive message is this outdated thing. That it got branded as “conscious rap” and seen as a relic of the ’90s while a new wave of SoundCloud rap is taking over. Do you think music with a positive message ever really goes out of style?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: Does people’s need for light ever go out of style? I don’t think it does. Insofar as the human experience continues and evolves, there’s always going to be that need to be that reminder of hope. Black, brown, API, European, it doesn’t matter who you are, there’s a quest for light that every human experiences. Circumstances around us are as dismal as they’ve been, so no, it ain’t going out of style no time soon. In fact, we’re repackaging that style.\u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: When we first started performing in Oakland, it was at First Friday. People are walking around, you kind of get into whatever you get into, however you flow and whatever your vibe is. And after every show, people would say “Thank you, I needed to hear that.” They’re like, I was looking for this. People, they crave it.\u003c/p>\n\u003cfigure id=\"attachment_13839071\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_horiz2-800x571.jpg\" alt=\"Sol Development.\" width=\"800\" height=\"571\" class=\"size-medium wp-image-13839071\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-800x571.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-768x549.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1020x729.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1200x857.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-1180x843.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-960x686.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2-520x371.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_horiz2.jpg 1512w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: The only way this goes out of style is that every issue or problem that we are discussing in our music goes away. You know what I’m saying? Donny Hathaway, Curtis Mayfield, Roberta Flack, Nina Simone, these people were putting out positive messages during the darkest of times, so that people were aware of what was going on in the black experience, and what was happening in neighborhoods. \u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: Genre umbrellas are often too large to capture the nuances of what an artist really comes to bring. If you call it conscious, however you experience consciousness, you’ll then define conscious rap as whatever conscious is to you. If you’re in a space where people are constantly banging on the system, and you call that conscious, then you’ll think that is what we came to do. But what we came to do is really develop the light, which means that sometimes we have to go to the darkest spaces to emit that light. Sometimes those darkest spaces might be social issues. Sometimes those darkest spaces might be political issues. Sometimes those darkest spaces might be relegated specifically to the black experience. But if we make you conscious of the light, then yeah, you can be conscious. That’s the consciousness we’re bringing. That light. \u003c/p>\n\u003cfigure id=\"attachment_13839257\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-800x1120.jpg\" alt=\"Lauren Adams from SOL Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839257\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Lauren_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Adams from SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>One word comes up a lot, talking about your music: healing. You’ve personally had family that’s been incarcerated, you’ve had family that’s been murdered. When you put out a song like “Helicopter,” you must have deep discussions among each other when you create a song like that. What are those discussions like? You talk about needing to go into the darkness before providing light. What’s that process like as a band? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: It’s beautiful.\u003c/p>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: Those conversations happen, probably one, more often than you think. These are friendships that are 15-plus years in, so these conversations started in Sacramento, on a basketball court, when I first met Felicia and Karega, and these conversations continued while we were in undergrad at Hampton University, and now as teachers together. You have a member who sees one of his darkest days and you’re listening to the music that he’s putting out because of the tragedy. You’re reading about how he’s surrendering to everything that’s going on in his black experience. And you come back together in Oakland and you’re discussing, again, all these experiences together and what you went through.\u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: It’s necessary for your wellness, for your mental health. \u003c/p>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: Part of this trauma that you’ve just experienced, how did you keep your light on during this? Or what did I do as a friend to help keep your light on during this time? And now we’re opening this conversation to everybody else. We no longer want to just have it between the four or five of us. We want to invite everybody to see that in your darkest moments, your tribe is going to keep your light on, your faith, your black joy. \u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: We make the music. But you can just look into the audience and see who’s carrying the light and you feel them on that level. They are an extension of us and we are an extension of them. It’s an infinity group when you really look at it, of folks who have similar experiences. A place to practice, a place to sympathize. It’s a place to become healthy. \u003c/p>\n\u003cfigure id=\"attachment_13839255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-800x1120.jpg\" alt=\"Felicia Gangloff-Bailey from SOL Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Felicia_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Felicia Gangloff-Bailey from SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You’re all teachers now, making an impact on young kids. What are some people or places in the Bay Area that made you who you are today?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: I’d say Jennifer Johns and Kev Choice—that was like in the first few days of coming here, Kev Choice and I had did a show in Sacramento where we opened up for Mos Def. I’d also like to name The Way Church. And the McBrides: Jim McBride, Michael McBride and BJ McBride. The McBride family. Roses in Concrete, naturally, that’s our hub, that’s our home. Mercedes Martin and Tres Mercedes. YBG, Young Gifted and Black, the young folks. And man, the Lake, for sure. Lake Merritt is like an open history book. You know what I mean? If you get a chance to experience what it is, and to hear the stories of how it used to be. It’s like an ongoing family reunion.\u003c/p>\n\u003cfigure id=\"attachment_13839254\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-800x1120.jpg\" alt=\"Brittany Tanner from SOL Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839254\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_Brittany_vert.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brittany Tanner from SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: A lot of the black churches here in Oakland. Olivet Church, Pastor Humphrey passed away, but they brought a certain brand of black spirituality that was definitely open, and still is to this day. But as Karega said, the McBrides, they’re from San Francisco. Some of the things that they found in the city mirrored everything they’ve seen in Oakland and Berkeley, and it’s inspiring to see them use their light in such a powerful and unapologetically black way, that hasn’t been seen. Lastly, I would say definitely my grandmother. She let me experience Oakland for myself. She let me walk around the neighborhood with my little cousins in tow and let me lead them to the corner store and to the park and to other friends’ houses. Just showing us never to be afraid of our people, never be afraid to be in spaces where our people live and where they gather. So I owe a great deal of that to her, being here in Oakland.\u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: My granny’s brother. My granny is here from Louisiana and worked here on the railroads and in Alameda. But her brother, he actually just passed not too long ago. He was 95 but he’d lived here for many, many years. Roses in Concrete, of course, because it was that bridge that brought me back. I would also have to say one of my very first experiences coming into Oakland as an adult was the Umoja Festival and I will never forget how that felt. Being in D.C. for so long, and living that black experience in D.C.—which is an easy experience, almost, because it’s just \u003cem>so\u003c/em> black—and then coming to Oakland and being at the Umoja Fest and seeing how being black was celebrated here in California. That was just mind-blowing for me. I had never seen that before.\u003c/p>\n\u003cfigure id=\"attachment_13839073\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Sol_vert1-800x1120.jpg\" alt=\"Sol Development.\" width=\"800\" height=\"1120\" class=\"size-medium wp-image-13839073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Sol_vert1.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development. \u003ccite>(Jean Melesaine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What does your ideal future look like for artists in the Bay Area?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Karega\u003c/strong>: Well, if I can’t secure an ideal, I still want to secure a place for us to be and exist. Oakland is changing and spaces are becoming limited; we’ve seen that with the Alena Museum and what’s going on with them. So as Oakland changes, and keeping a space for artist communities, live music is a real thing. Having spaces that honor live music. I can’t stress it enough. Lastly, man, ways for artists to monetize so the community is able to support them as they want to. \u003c/p>\n\u003cp>\u003cstrong>Felicia\u003c/strong>: Oakland is so unique in terms of valuing community. I didn’t learn that until I moved here. So, to what Karega said, don’t push us out. Just don’t push us out. \u003c/p>\n\u003cp>\u003cstrong>Lauren\u003c/strong>: I’ve seen what the music scene here in the Bay has been in the past, and I always wanted the Bay Area to be respected more for what we do bring to the musical table. I look at all the many artists who have come out of Oakland and there’s a ceiling placed above them, being overshadowed by the larger musical scene in Southern California. It’s finally beginning to open up for the Bay to get a little more sunshine. I tell people, “We’ve got the sun out here too!” Since I’ve been back in Oakland, I’ve seen an influx of tourism, and I’m from San Francisco, so I know what tourism looks like in your city. People are coming in droves, and I think this is a perfect opportunity for musicians, local artists, local creatives to finally get the whole world looking at them. I think we’re in a great spot.\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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Learn more about SOL Development \u003ca href=\"http://soldevelopmentmusic.com/\" rel=\"noopener\" target=\"_blank\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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 />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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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",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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