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A child of the ’80s, born to a daughter of Detroit, I demanded R-E-S-P-E-C-T when I was still learning to spell, I was feeling like a natural woman before I hit puberty, and I vowed I’d never be in someone’s chain of fools before I ever went on a date.\u003c/p>\n\u003cfigure id=\"attachment_13839193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg\" alt=\"Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1200x845.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California. \u003ccite>(Jesse Grant/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As I matured, my fascination for the family’s old records would give way to the novelty of compact discs, new jack swing, R&B and neo-soul. But Aretha’s indelible impact couldn’t be erased. I’d find myself craving her voice when modern music failed to take me to the places only Aretha could reach. And as I grew older and aged into love and romance, I discovered new dimensions to her music. The urgency of her plea on “Call Me,” articulating feelings of longing I’d had yet to experience. The eternal truth of “(You Make Me Feel Like) A Natural Woman,” which took on an entirely new meaning once I crossed the threshold into womanhood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Whenever I thought my adoration for Aretha had diminished, she’d resurface and stir my soul in a way only she could. She’d translate emotions from a pivotal film in my youth, \u003cem>Waiting to Exhale\u003c/em>. She’d collaborate with my then-favorite artist Lauryn Hill on her album \u003cem>A Rose is Still A Rose\u003c/em>.\u003c/p>\n\u003cp>And at Barack Obama’s 2009 inauguration, her presence on the Capitol steps that morning meant that a piece of me was there onstage beside America’s first black president.\u003c/p>\n\u003cp>While other artists from her generation struggled to reinvent themselves and connect with a younger audience, Aretha never wavered from the confidence of her throne. Hers was a gift that required no embellishment or novelty; even when she was called to \u003ca href=\"https://www.youtube.com/watch?v=KBCWLhlJV0Y\" target=\"_blank\" rel=\"noopener noreferrer\">duet with a contemporary pop star\u003c/a>, it rarely felt forced. She forged a deep bond with anyone who heard her voice, the power to distill pain, joy and unfiltered soul into every word she sung.\u003c/p>\n\u003cfigure id=\"attachment_13839194\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg\" alt=\"The single for 'It Hurts Like Hell' from the film 'Waiting to Exhale.'\" width=\"617\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-375x359.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-520x498.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-32x32.jpg 32w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">The single for ‘It Hurts Like Hell’ from the film ‘Waiting to Exhale.’\u003c/figcaption>\u003c/figure>\n\u003cp>While I’m undoubtedly a child of the Bay Area, my mother was raised in Detroit. It’s her stories about the makings of Motown (including Barry Gordy’s ill-conceived idea to pass on Aretha in favor of her sister Carol Franklin), and her retelling of how her great aunt watched a young Aretha sing in her father’s church on Sunday mornings, that almost make me feel like Aretha was a part of our family. Her music, her voice, her implicit understanding… she was always \u003cem>there\u003c/em>.\u003c/p>\n\u003cp>Today, still processing the news of her death, I’m sad—and a little ashamed. For it’s only today that I realize how much I’ve taken the undisputed Queen of Soul for granted. For all the glorious spectrum of emotion she gifted me, I expected even more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let it be told: Aretha gave us more than enough. May she forever remain the moderator of feelings, for young girls and grown women alike, and may her majesty attain immortality.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Trying to recall the first time I heard the voice of Aretha Franklin is like trying to recall when I first noticed the sky.\u003c/p>\n\u003cp>From the time I could crawl across our green shag carpet at our home in Oakland’s Fruitvale District, I can recall rummaging through the dual polished mahogany cabinets in our home that served as a treasure chest for my mother’s LPs and 45s. I’d flip through cardboard sleeves covered with the faces of Teddy, Tina, Isaac, James, Diana and Smokey, an act that would often evoke a \u003cem>“girl, you don’t know nothin’ about this,”\u003c/em> followed by a brief history lesson from by mother and grandmother, culminating in a decadent sampling of music.\u003c/p>\n\u003cp>Many names were exalted. But I came to understand that there was only one queen.\u003c/p>\n\u003cp>Saturday mornings were reserved for her. As I partook in the weekly ritual of morning chores, Aretha’s voice would pour over my soul like warm honey, transforming my pajamas and headscarf into an ornate ball gown and elaborate bouffant. Broom sticks became makeshift mic stands. And, for a few minutes, the voice overpowering the faint crackle of the spinning 45 belonged to me. A child of the ’80s, born to a daughter of Detroit, I demanded R-E-S-P-E-C-T when I was still learning to spell, I was feeling like a natural woman before I hit puberty, and I vowed I’d never be in someone’s chain of fools before I ever went on a date.\u003c/p>\n\u003cfigure id=\"attachment_13839193\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13839193\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg\" alt=\"Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California.\" width=\"800\" height=\"563\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-800x563.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1020x718.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1200x845.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-1180x831.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-960x676.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-375x264.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.Jamedra.Inline-520x366.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aretha Franklin accepts the Vanguard Award onstage during the 39th NAACP Image Awards on February 14, 2008 in Los Angeles, California. \u003ccite>(Jesse Grant/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As I matured, my fascination for the family’s old records would give way to the novelty of compact discs, new jack swing, R&B and neo-soul. But Aretha’s indelible impact couldn’t be erased. I’d find myself craving her voice when modern music failed to take me to the places only Aretha could reach. And as I grew older and aged into love and romance, I discovered new dimensions to her music. The urgency of her plea on “Call Me,” articulating feelings of longing I’d had yet to experience. The eternal truth of “(You Make Me Feel Like) A Natural Woman,” which took on an entirely new meaning once I crossed the threshold into womanhood.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Whenever I thought my adoration for Aretha had diminished, she’d resurface and stir my soul in a way only she could. She’d translate emotions from a pivotal film in my youth, \u003cem>Waiting to Exhale\u003c/em>. She’d collaborate with my then-favorite artist Lauryn Hill on her album \u003cem>A Rose is Still A Rose\u003c/em>.\u003c/p>\n\u003cp>And at Barack Obama’s 2009 inauguration, her presence on the Capitol steps that morning meant that a piece of me was there onstage beside America’s first black president.\u003c/p>\n\u003cp>While other artists from her generation struggled to reinvent themselves and connect with a younger audience, Aretha never wavered from the confidence of her throne. Hers was a gift that required no embellishment or novelty; even when she was called to \u003ca href=\"https://www.youtube.com/watch?v=KBCWLhlJV0Y\" target=\"_blank\" rel=\"noopener noreferrer\">duet with a contemporary pop star\u003c/a>, it rarely felt forced. She forged a deep bond with anyone who heard her voice, the power to distill pain, joy and unfiltered soul into every word she sung.\u003c/p>\n\u003cfigure id=\"attachment_13839194\" class=\"wp-caption aligncenter\" style=\"max-width: 617px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13839194\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg\" alt=\"The single for 'It Hurts Like Hell' from the film 'Waiting to Exhale.'\" width=\"617\" height=\"591\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal.jpg 617w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-160x153.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-240x230.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-375x359.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-520x498.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Aretha.ItHurts.WaitingExhal-32x32.jpg 32w\" sizes=\"(max-width: 617px) 100vw, 617px\">\u003cfigcaption class=\"wp-caption-text\">The single for ‘It Hurts Like Hell’ from the film ‘Waiting to Exhale.’\u003c/figcaption>\u003c/figure>\n\u003cp>While I’m undoubtedly a child of the Bay Area, my mother was raised in Detroit. It’s her stories about the makings of Motown (including Barry Gordy’s ill-conceived idea to pass on Aretha in favor of her sister Carol Franklin), and her retelling of how her great aunt watched a young Aretha sing in her father’s church on Sunday mornings, that almost make me feel like Aretha was a part of our family. Her music, her voice, her implicit understanding… she was always \u003cem>there\u003c/em>.\u003c/p>\n\u003cp>Today, still processing the news of her death, I’m sad—and a little ashamed. For it’s only today that I realize how much I’ve taken the undisputed Queen of Soul for granted. For all the glorious spectrum of emotion she gifted me, I expected even more.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Let it be told: Aretha gave us more than enough. May she forever remain the moderator of feelings, for young girls and grown women alike, and may her majesty attain immortality.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hiero Day, Oakland rap crew Hieroglyphics’ homegrown festival, is back for its seventh edition on Labor Day, Sept. 3—this time at the corner of Third Street and Martin Luther King Jr. Way near Oakland’s Jack London Square. [contextly_sidebar id=”x7A9YTP4nM22CZC8Na2gGeJjl4niK89M”]\u003c/p>\n\u003cp>The fest started as a block party and relocated last year to American Steel Studios in West Oakland, the former site of another homegrown music fest, Feels. The American Steel building sold and Hiero Day is back to its street party format.\u003c/p>\n\u003cp>Per usual, the lineup features up-and-coming locals, local legends and a few big names from out of town. This year’s heavy hitters include The Roots’ Black Thought, “Runnin'” MCs The Pharcyde, Cash Money Records producer Mannie Fresh and Freddie Gibbs.\u003c/p>\n\u003cp>Young Gully, one of Oakland’s hardest-working MCs, is featured on this year’s lineup, as well as Guapdad4000, the “Scamboy” rapper and internet class clown. DJs Shellheart and Red Corvette, both rising stars in the Oakland nightlife scene, will be behind the decks, as well as producers DJ Fresh and Traxamillion—who are both responsible for some of the most recognizable beats to come out of the hyphy movement.\u003c/p>\n\u003cp>Check out the full lineup below and more info \u003ca href=\"https://www.eventbrite.com/e/7th-annual-hiero-day-music-festival-tickets-48624711822\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/YoungGully/status/1029443762978582528\u003c/p>\n\n",
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"content": "\u003cp>Oakland’s last section of undeveloped, privately-owned waterfront is a nubby spit of land at the very end of 5th Avenue, where charmingly ramshackle structures occupy roughly four square blocks along the estuary connecting Lake Merritt to the San Francisco Bay. \u003c/p>\n\u003cp>For decades, this area known as Fifth Avenue Point has been a makeshift live-work hub attracting artists, musicians, mechanics, sailors, and craftspeople to its remote-feeling stretch of industrial waterfront; its gravel lots teem with succulents and found objects repurposed as decoration.\u003c/p>\n\u003cp>In the middle of it all is \u003ca href=\"https://www.shadetreeartisans.org/\" rel=\"noopener\" target=\"_blank\">Shadetree\u003c/a>, a tight-knit, insular community of dozens of residents, living in interconnected buildings, that feels like a family. During a tour, resident Benjamin Burke called a neighbor’s newborn child “our baby,” before letting himself into another neighbor’s unit. \u003c/p>\n\u003cfigure id=\"attachment_13838444\" 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/Shadetree.Freddie-800x533.jpg\" alt=\"Freddi, a resident of Shadetree, pets a cat on the steps. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freddi, a resident of Shadetree, pets a cat on the steps. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the cloistered, hideaway atmosphere is changing. To the property’s immediate north, east, and west are building sites within a scheduled 35-acre commercial-residential project \u003ca href=\"http://brooklynbasin.com/\" rel=\"noopener\" target=\"_blank\">Brooklyn Basin\u003c/a>, Oakland’s largest new development since World War II. Developers have plotted to “revitalize” Fifth Avenue Point for decades, but when Shadetree’s owners decided to sell in 2016, it finally seemed likely. \u003c/p>\n\u003cp>Instead, the tenants raised $2.5 million and purchased Shadetree themselves. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Now we’re this little strip in the middle of the Brooklyn Basin plan that says, ‘Not a part of project,’” said Burke, a writer and onetime TED Fellow. (His talk centered on the virtues of “winging it.”) “If we could pull this off, I mean—we’re made of trash!” \u003c/p>\n\u003cfigure id=\"attachment_13838442\" 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/BrooklynBasin.map_-800x566.jpg\" alt=\"A map of the scheduled Brooklyn Basin development, showing Shadetree at left, circled in yellow. \" width=\"800\" height=\"566\" class=\"size-medium wp-image-13838442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1200x849.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-960x680.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-520x368.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the scheduled Brooklyn Basin development, showing Shadetree at left, circled in yellow. \u003ccite>(via Brooklyn Basin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September 2016, the Shadetree tenants received a letter from their landlords, Reed and Matt Westphal, giving them 90 days to make an offer on the property. They mustered a deposit and signed a purchase agreement in February, and spent months securing $2.5 million in loans—about half from a private equity lender, and the other half from 22 individual supporters—to buy the property through a newly-formed nonprofit, Shadetree Historical Artisan Development Engine (SHADE). The sale went through last July. \u003c/p>\n\u003cp>Threats to Oakland live-work housing have been mounting for years, due to development, encroaching cannabis business, and a city code-enforcement crackdown. Shadetree’s shoreline locale, its position within Oakland’s cannabis-permitted “green zone,” and location in the center of plans for Brooklyn Basin made it particularly vulnerable. Donna Smithey, 66, a 5th Avenue resident who helped organize the acquisition, said that when the Westphals offered to sell to the tenants, she thought it was just a face-saving gesture before eviction. “I don’t think they expected us to get it together,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13838453\" 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/Shadetree.Meeting-800x600.jpg\" alt=\"A meeting at Shadetree. Residents recently bought the live-work artist complex amidst encroaching development. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13838453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1200x901.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A meeting at Shadetree. Residents recently bought the live-work artist complex amidst encroaching development. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The structure of the acquisition—involving a property-specific nonprofit and a plan to collectivize ownership—is similar to the land-trust model, wherein tenants generally rent from a nonprofit entity bound by an affordability covenant and restricted from selling the property. In the past year, the Oakland Community Land Trust has added two mixed-use buildings to its portfolio. Like those arrangements, the Shadetree tenants consider their acquisition a bulwark against displacement, and insulation from real-estate market pressure. \u003c/p>\n\u003caside class=\"alignright\">\n\u003cul>\n\u003cli>RELATED: \u003ca href=\"https://www.kqed.org/news/10375692/mission-tenants-avoid-eviction-and-gain-a-long-term-home\" target=\"_blank\" rel=\"noopener\">Mission Tenants Avoid Eviction and Gain a Long-Term Home\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Shadetree is now an important model for other communities of artists trying to find the wherewithal to buy their building in Oakland,” said Kelley Kahn, the city’s policy director for art spaces, who supported the tenants through the acquisition. “Ownership is the most powerful tool artists have to protect themselves in a changing and highly competitive private real estate market—and unfortunately the hardest to achieve.” \u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, a consulting organization helping Shadetree resolve permitting and zoning issues, called the purchase “unprecedented,” adding that the live-work complex is arguably the oldest of its kind in Oakland. “The odds were long and the timeframe was compressed,” he said. “It defies not just my expectations—all of the lawyers and professionals who helped were dumbfounded that they made this happen.” \u003c/p>\n\u003cfigure id=\"attachment_13838447\" 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/Shadetree.kitchen-800x533.jpg\" alt=\"Kate, a resident of Shadetree, among the busy decór. Residents of the artist live-work complex recently purchased the property amidst planned adjacent development.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate, a resident of Shadetree, among the busy decór. Residents of the artist live-work complex recently purchased the property amidst planned adjacent development. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fifth Avenue Point hosted largely shipbuilding businesses for much of the 20th Century. J.W. Silveira, now a major Alameda County property owner, acquired six and a half acres in the 1960s, and Robert Schultz bought the half-acre known as Shadetree in 1979. Schultz, a wild-eyed flea-market magpie, collected and sold antiques on the property and rented space to artists. Visitors tended to note his 3,500-pound aluminum tooth sculpture—a gift from Seward Johnson, estranged heir to the Johnson & Johnson fortune. \u003c/p>\n\u003cp>Under Schultz’s “benevolent dictatorship,” as Burke called it, Shadetree became a waterfront curiosity, a fringe community à la pre-money Sausalito with the cluttered, rustic look of public art installations such as Nitwit Ridge or Watts Towers. Shadetree published a photo book, edited by nautical artist Constance Hockaday, documenting years of life at the Point, which the introduction likens to John Steinbeck’s Cannery Row. \u003c/p>\n\u003cp>Even the Port of Oakland’s 157-page estuary policy plan, published in 1999, is threaded with surprisingly perceptive praise for the creative haven: “The Fifth Avenue Point community includes a synergistic grouping of artists, artisans, and small industrial business,” it reads. “It should be noted that enclaves such as this are rarely planned.”\u003c/p>\n\u003cfigure id=\"attachment_13838454\" 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/Shadetree.Plaque-800x533.jpg\" alt=\"A plaque at Shadetree, erected in 1993.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A plaque at Shadetree, erected in 1993. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, Shadetree seemed precarious. “For the past decade, Fifth Avenue Point has been well known for something else: imminent doom,” wrote former \u003cem>San Francisco Chronicle\u003c/em> columnist Jon Carroll in 2006 amid the planning of Brooklyn Basin, adding darkly that it “would not survive efforts to redevelop it, nor would it survive efforts to preserve it.” \u003c/p>\n\u003cp>In the late 1990s, a consultant firm hired by local government proposed a plan calling for “the city and port to take the land through eminent domain,” according to a 1997 \u003cem>East Bay Express\u003c/em> article, prompting outcry from the residents. Early in planning Brooklyn Basin, a project championed by former mayors Jean Quan and Jerry Brown, Signature Development Group founder Michael Ghielmetti tried to buy Shadetree from Schultz.\u003c/p>\n\u003cp>(Ghielmetti acknowledged trying to acquire Shadetree years ago, but said he’s happy for the tenants’ successful purchase. “We’re thrilled to have them as neighbors,” he said.) \u003c/p>\n\u003cp>In 2008, Schultz sold the property to the Westphals, a family tied to Balco Properties and Bay Alarm, with an understanding that they’d try to preserve Shadetree, according to Smithey. (The Westphals did not respond to an interview request.) But Smithey, a Safer DIY Spaces consultant who’s worked in affordable housing development, said that during negotiations, the Westphals revealed that they’d commissioned an assessment indicating the property could support “40 or 50 condos.”\u003c/p>\n\u003cfigure id=\"attachment_13838452\" 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/Shadetree.Stairs-800x534.jpg\" alt=\"A unit at Shadetree.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13838452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A unit at Shadetree. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the effort by residents to buy Shadetree, it wasn’t exactly easy. Twenty-two lenders turned them down. “I talked to so many private equity brokers,” Smithey said. “One guy drove up in a Tesla. He saw the place and declined.” Eventually, Val Chris Investments provided $1.25 million. The tenants then solicited 22 smaller loans from friends and supporters totaling $1.55 million. For the very last $100,000, Burke visited a patron on a houseboat. \u003c/p>\n\u003cp>Technically, the property is owned by the SHADE nonprofit. Within a few years, Smithey said, the goal is to consolidate the loans with one bank, and give tenants ownership stakes through a limited-equity cooperative. \u003c/p>\n\u003cp>Now they have to pay back the loans, and equitably reengineer responsibilities. To that end, they equalized rent, measuring all of the units and determining a shared cost per square foot that’d meet their loan obligations — so some tenants’ rent increased. “I was afraid we’d lose someone over that,” Burke said. “But we didn’t, and it’s still way under market.” He said rent now averages $900 per unit, and everyone contributes to upkeep. \u003c/p>\n\u003cfigure id=\"attachment_13838455\" 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/Shadetree.Outside-800x534.jpg\" alt=\"Outside at Shadetree in Oakland.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13838455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at Shadetree in Oakland. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The residents said they’ll soon need to raise more money for code-compliance improvements, and there’s some tension between Shadetree and Brooklyn Basin over shared property lines and easements.\u003c/p>\n\u003cp>And on the other side of the Point, according to Smithey, Silveira has been gradually phasing out residential tenants in favor of cannabis business. “We went into this knowing that in 10 to 15 years we might be surrounded by tall buildings,” she said. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the meantime, Shadetree is in Oakland to stay. “It’s sink or swim,” Burke said of his waterfront home, “and we’re swimming.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s last section of undeveloped, privately-owned waterfront is a nubby spit of land at the very end of 5th Avenue, where charmingly ramshackle structures occupy roughly four square blocks along the estuary connecting Lake Merritt to the San Francisco Bay. \u003c/p>\n\u003cp>For decades, this area known as Fifth Avenue Point has been a makeshift live-work hub attracting artists, musicians, mechanics, sailors, and craftspeople to its remote-feeling stretch of industrial waterfront; its gravel lots teem with succulents and found objects repurposed as decoration.\u003c/p>\n\u003cp>In the middle of it all is \u003ca href=\"https://www.shadetreeartisans.org/\" rel=\"noopener\" target=\"_blank\">Shadetree\u003c/a>, a tight-knit, insular community of dozens of residents, living in interconnected buildings, that feels like a family. During a tour, resident Benjamin Burke called a neighbor’s newborn child “our baby,” before letting himself into another neighbor’s unit. \u003c/p>\n\u003cfigure id=\"attachment_13838444\" 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/Shadetree.Freddie-800x533.jpg\" alt=\"Freddi, a resident of Shadetree, pets a cat on the steps. \" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838444\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Freddie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Freddi, a resident of Shadetree, pets a cat on the steps. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the cloistered, hideaway atmosphere is changing. To the property’s immediate north, east, and west are building sites within a scheduled 35-acre commercial-residential project \u003ca href=\"http://brooklynbasin.com/\" rel=\"noopener\" target=\"_blank\">Brooklyn Basin\u003c/a>, Oakland’s largest new development since World War II. Developers have plotted to “revitalize” Fifth Avenue Point for decades, but when Shadetree’s owners decided to sell in 2016, it finally seemed likely. \u003c/p>\n\u003cp>Instead, the tenants raised $2.5 million and purchased Shadetree themselves. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Now we’re this little strip in the middle of the Brooklyn Basin plan that says, ‘Not a part of project,’” said Burke, a writer and onetime TED Fellow. (His talk centered on the virtues of “winging it.”) “If we could pull this off, I mean—we’re made of trash!” \u003c/p>\n\u003cfigure id=\"attachment_13838442\" 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/BrooklynBasin.map_-800x566.jpg\" alt=\"A map of the scheduled Brooklyn Basin development, showing Shadetree at left, circled in yellow. \" width=\"800\" height=\"566\" class=\"size-medium wp-image-13838442\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-768x544.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1200x849.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-960x680.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/BrooklynBasin.map_-520x368.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A map of the scheduled Brooklyn Basin development, showing Shadetree at left, circled in yellow. \u003ccite>(via Brooklyn Basin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In September 2016, the Shadetree tenants received a letter from their landlords, Reed and Matt Westphal, giving them 90 days to make an offer on the property. They mustered a deposit and signed a purchase agreement in February, and spent months securing $2.5 million in loans—about half from a private equity lender, and the other half from 22 individual supporters—to buy the property through a newly-formed nonprofit, Shadetree Historical Artisan Development Engine (SHADE). The sale went through last July. \u003c/p>\n\u003cp>Threats to Oakland live-work housing have been mounting for years, due to development, encroaching cannabis business, and a city code-enforcement crackdown. Shadetree’s shoreline locale, its position within Oakland’s cannabis-permitted “green zone,” and location in the center of plans for Brooklyn Basin made it particularly vulnerable. Donna Smithey, 66, a 5th Avenue resident who helped organize the acquisition, said that when the Westphals offered to sell to the tenants, she thought it was just a face-saving gesture before eviction. “I don’t think they expected us to get it together,” she said. \u003c/p>\n\u003cfigure id=\"attachment_13838453\" 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/Shadetree.Meeting-800x600.jpg\" alt=\"A meeting at Shadetree. Residents recently bought the live-work artist complex amidst encroaching development. \" width=\"800\" height=\"600\" class=\"size-medium wp-image-13838453\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1200x901.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Meeting-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A meeting at Shadetree. Residents recently bought the live-work artist complex amidst encroaching development. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The structure of the acquisition—involving a property-specific nonprofit and a plan to collectivize ownership—is similar to the land-trust model, wherein tenants generally rent from a nonprofit entity bound by an affordability covenant and restricted from selling the property. In the past year, the Oakland Community Land Trust has added two mixed-use buildings to its portfolio. Like those arrangements, the Shadetree tenants consider their acquisition a bulwark against displacement, and insulation from real-estate market pressure. \u003c/p>\n\u003caside class=\"alignright\">\n\u003cul>\n\u003cli>RELATED: \u003ca href=\"https://www.kqed.org/news/10375692/mission-tenants-avoid-eviction-and-gain-a-long-term-home\" target=\"_blank\" rel=\"noopener\">Mission Tenants Avoid Eviction and Gain a Long-Term Home\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>“Shadetree is now an important model for other communities of artists trying to find the wherewithal to buy their building in Oakland,” said Kelley Kahn, the city’s policy director for art spaces, who supported the tenants through the acquisition. “Ownership is the most powerful tool artists have to protect themselves in a changing and highly competitive private real estate market—and unfortunately the hardest to achieve.” \u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, a consulting organization helping Shadetree resolve permitting and zoning issues, called the purchase “unprecedented,” adding that the live-work complex is arguably the oldest of its kind in Oakland. “The odds were long and the timeframe was compressed,” he said. “It defies not just my expectations—all of the lawyers and professionals who helped were dumbfounded that they made this happen.” \u003c/p>\n\u003cfigure id=\"attachment_13838447\" 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/Shadetree.kitchen-800x533.jpg\" alt=\"Kate, a resident of Shadetree, among the busy decór. Residents of the artist live-work complex recently purchased the property amidst planned adjacent development.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.kitchen-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kate, a resident of Shadetree, among the busy decór. Residents of the artist live-work complex recently purchased the property amidst planned adjacent development. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fifth Avenue Point hosted largely shipbuilding businesses for much of the 20th Century. J.W. Silveira, now a major Alameda County property owner, acquired six and a half acres in the 1960s, and Robert Schultz bought the half-acre known as Shadetree in 1979. Schultz, a wild-eyed flea-market magpie, collected and sold antiques on the property and rented space to artists. Visitors tended to note his 3,500-pound aluminum tooth sculpture—a gift from Seward Johnson, estranged heir to the Johnson & Johnson fortune. \u003c/p>\n\u003cp>Under Schultz’s “benevolent dictatorship,” as Burke called it, Shadetree became a waterfront curiosity, a fringe community à la pre-money Sausalito with the cluttered, rustic look of public art installations such as Nitwit Ridge or Watts Towers. Shadetree published a photo book, edited by nautical artist Constance Hockaday, documenting years of life at the Point, which the introduction likens to John Steinbeck’s Cannery Row. \u003c/p>\n\u003cp>Even the Port of Oakland’s 157-page estuary policy plan, published in 1999, is threaded with surprisingly perceptive praise for the creative haven: “The Fifth Avenue Point community includes a synergistic grouping of artists, artisans, and small industrial business,” it reads. “It should be noted that enclaves such as this are rarely planned.”\u003c/p>\n\u003cfigure id=\"attachment_13838454\" 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/Shadetree.Plaque-800x533.jpg\" alt=\"A plaque at Shadetree, erected in 1993.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13838454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Plaque-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A plaque at Shadetree, erected in 1993. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, Shadetree seemed precarious. “For the past decade, Fifth Avenue Point has been well known for something else: imminent doom,” wrote former \u003cem>San Francisco Chronicle\u003c/em> columnist Jon Carroll in 2006 amid the planning of Brooklyn Basin, adding darkly that it “would not survive efforts to redevelop it, nor would it survive efforts to preserve it.” \u003c/p>\n\u003cp>In the late 1990s, a consultant firm hired by local government proposed a plan calling for “the city and port to take the land through eminent domain,” according to a 1997 \u003cem>East Bay Express\u003c/em> article, prompting outcry from the residents. Early in planning Brooklyn Basin, a project championed by former mayors Jean Quan and Jerry Brown, Signature Development Group founder Michael Ghielmetti tried to buy Shadetree from Schultz.\u003c/p>\n\u003cp>(Ghielmetti acknowledged trying to acquire Shadetree years ago, but said he’s happy for the tenants’ successful purchase. “We’re thrilled to have them as neighbors,” he said.) \u003c/p>\n\u003cp>In 2008, Schultz sold the property to the Westphals, a family tied to Balco Properties and Bay Alarm, with an understanding that they’d try to preserve Shadetree, according to Smithey. (The Westphals did not respond to an interview request.) But Smithey, a Safer DIY Spaces consultant who’s worked in affordable housing development, said that during negotiations, the Westphals revealed that they’d commissioned an assessment indicating the property could support “40 or 50 condos.”\u003c/p>\n\u003cfigure id=\"attachment_13838452\" 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/Shadetree.Stairs-800x534.jpg\" alt=\"A unit at Shadetree.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13838452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Stairs-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A unit at Shadetree. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the effort by residents to buy Shadetree, it wasn’t exactly easy. Twenty-two lenders turned them down. “I talked to so many private equity brokers,” Smithey said. “One guy drove up in a Tesla. He saw the place and declined.” Eventually, Val Chris Investments provided $1.25 million. The tenants then solicited 22 smaller loans from friends and supporters totaling $1.55 million. For the very last $100,000, Burke visited a patron on a houseboat. \u003c/p>\n\u003cp>Technically, the property is owned by the SHADE nonprofit. Within a few years, Smithey said, the goal is to consolidate the loans with one bank, and give tenants ownership stakes through a limited-equity cooperative. \u003c/p>\n\u003cp>Now they have to pay back the loans, and equitably reengineer responsibilities. To that end, they equalized rent, measuring all of the units and determining a shared cost per square foot that’d meet their loan obligations — so some tenants’ rent increased. “I was afraid we’d lose someone over that,” Burke said. “But we didn’t, and it’s still way under market.” He said rent now averages $900 per unit, and everyone contributes to upkeep. \u003c/p>\n\u003cfigure id=\"attachment_13838455\" 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/Shadetree.Outside-800x534.jpg\" alt=\"Outside at Shadetree in Oakland.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13838455\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/Shadetree.Outside-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Outside at Shadetree in Oakland. \u003ccite>(Nathan Bennett)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The residents said they’ll soon need to raise more money for code-compliance improvements, and there’s some tension between Shadetree and Brooklyn Basin over shared property lines and easements.\u003c/p>\n\u003cp>And on the other side of the Point, according to Smithey, Silveira has been gradually phasing out residential tenants in favor of cannabis business. “We went into this knowing that in 10 to 15 years we might be surrounded by tall buildings,” she said. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the meantime, Shadetree is in Oakland to stay. “It’s sink or swim,” Burke said of his waterfront home, “and we’re swimming.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Teaching Technology in East Oakland—A Revolutionary Act",
"headTitle": "Teaching Technology in East Oakland—A Revolutionary Act | 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 can tell that’s my baby, right?!?!” I overheard LaTalya Parrish say, as I walked into the \u003ca href=\"https://www.degetc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">David E. Glover Center\u003c/a> in East Oakland on the evening of July 25.\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 sound of a proud mother was music to my ears, especially after the week that had been in Oakland. On top of the heinous killing of Nia Wilson and attempted murder of her sister Lahtifa at MacArthur Bart Station, there had been a number of violent incidents in the community. That’s all coupled with the constant cascade from the Oval Office.\u003c/p>\n\u003cp>I needed to hear the sound of LaTalya’s praise; and Hesten, her 13 year-old son, was well deserving of it. Wearing his Sunday best, he sat at the front desk greeting guests with a smile and passing out programs for the open house, during which he was scheduled to speak about coding and creating ways to “hack the system” during the center’s five-week summer program for teens.\u003c/p>\n\u003cfigure id=\"attachment_13838404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-800x535.jpg\" alt=\"Hesten Parrish gives a presentation at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1920x1283.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hesten Parrish gives a presentation at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You probably don’t need me to tell you that in East Oakland, there aren’t many opportunities for young folks to learn how to code. There’s other programs in Oakland, yes, but few in that part of town. But what you might not know is that Glover Center programs are entirely free.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to the center’s creative director Olivia Cueva, the Glover Center exists to allow people to “get access to the tools to then design and build things that will actually serve them and our greater community at large.”\u003c/p>\n\u003cp>Or, as Cueva later elaborated to me, “For too long, tech in the Bay has been understood to be a white space and a transplant space. What would it mean to actually have a \u003cem>free\u003c/em> technology, design, and maker space that allows Oakland and Bay Area natives to be in charge of what they want to create for their community—and the world?”\u003c/p>\n\u003cfigure id=\"attachment_13838403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-800x535.jpg\" alt=\"An attendee of the David E. Glover Center plays with a VR headset.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee of the David E. Glover Center plays with a VR headset. \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\">W\u003c/span>aiting for Hesten’s speech, I walked around the building where a handful of young folks displayed the gadgets and apps they’d created over the summer.\u003c/p>\n\u003cp>A mobile robot wheeled past my shins in the hallway. A young person wore 3-D goggles, using his hands to play what looked to be virtual tennis. And, in a dimly lit room, I met 13-year-old Michael Slater sitting behind a desk with a “mood light” he’d created using a combination of construction paper, LED lights and wires connecting the light to a computer through an Arduino board, which allowed him to program the lights’ hues.\u003c/p>\n\u003cp>I asked why he created it. “sometimes I get sad, like when I lose a game of Fortnite or when something bad happens,” Michael said. “This light makes me happy.”\u003c/p>\n\u003cp>Michael’s mother, Abarea Monique Slater, and grandmother, Carrie Banks, were in the room as well; almost cheering the young man on. When asked how she felt about the summer program, Slater said, “Everything else was expensive, and this was right up his alley—he likes robotics!”\u003c/p>\n\u003cp>Michael’s grandmother struck a more serious tone. “It’s important that he has a broader view of the world,” she added, “because at this age we start losing our boys.”\u003c/p>\n\u003cfigure id=\"attachment_13838408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838408\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-800x535.jpg\" alt='A \"drawbot\" created by 13-year-old Solyana Beyene.' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “drawbot” created by 13-year-old Solyana Beyene. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In another room full of games and robots, 13-year-old Solyana Beyene kneeled over her creation and explained the process of creating a “Drawbot,” which, as the name implies, is a robot programmed to draw. When loaded with colored pencils and placed on chart paper, the robot spins donuts and leaves overlapping colored circles. Solyana explained that it took a little trial-and-error, but overall the building of it went quickly: “First I just started with a robot, but a robot seemed simple, so I just put some pencils in there, and I made it make a circle.”\u003c/p>\n\u003cp>One of her instructors, Noah Jones, assisted her in making the pattern into a flower shape, but even that didn’t take too long to master. “I found a few viruses in there, and then I fixed it,” Solyana told me, her family sitting nearby her presentation.\u003c/p>\n\u003cp>Then we were ushered into the main room, where Cueva and fellow instructor Tanya Campbell introduced Hesten’s presentation.\u003c/p>\n\u003cfigure id=\"attachment_13838402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-800x535.jpg\" alt=\"Solyana Beyene answers a question on a panel at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1920x1283.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solyana Beyene answers a question on a panel at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing in front of a laptop projector, Hesten told the crowd about a recent issue he had with a teacher who gave him a grade he felt he didn’t deserve. After earning relatively high marks on his classwork, homework and tests, Hesten received a failing grade in the class, and felt there were some racial biases on the teacher’s part.\u003c/p>\n\u003cp>Instead of getting enraged, Hesten got innovative. He spent a few weeks developing an app that would allow students and parents to readily communicate with teachers, in an effort to create transparency around grading.\u003c/p>\n\u003cp>The app, called Flag The Grade, is geared to serve students from elementary school to high school. When asked if the app is on the market, Hesten replied, “It’s in prototype form, and that’s why I need resources—like money.” The crowd chuckled, but Hesten was serious: he explained that further investment would go toward “a designer, developer, and a new laptop.” (Hesten has reportedly already received $2,000 from the San Francisco Foundation for further research and development.)\u003c/p>\n\u003cp>At the end, Hesten was met with a thunderous applause.\u003c/p>\n\u003cfigure id=\"attachment_13838407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-800x535.jpg\" alt=\"Angela Glover Blackwell asks a question during a panel at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Glover Blackwell asks a question during a panel at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>wo interactions stuck with me in the Q&A that followed. The first occurred when Joe Brooks, of the Brotherhood of Elders Network, stood and asked what else the young people need, if they could have anything they wanted. Solyana, who noted that she’d recently immigrated to the United States, said she’d request nothing more, happy with the program as it is.\u003c/p>\n\u003cp>The second came when PolicyLink founder Angela Glover Blackwell stood and said that her brother—the late David E. Glover, for whom the center was named—would be proud of these young people’s efforts, and then thanked them.\u003c/p>\n\u003cp>Those were two subtle but very significant moments.\u003c/p>\n\u003cp>I left wondering if those 12- and 13-year-olds on stage had any idea of who Joe Brooks is, and how he once fought to start a sovereign nation inside of the United States called the Republic of New Africa. I wondered if those teenagers were familiar with Angela Glover Blackwell, and her lifelong work to use public policy to create better outcomes for low-income people and people of color.\u003c/p>\n\u003cfigure id=\"attachment_13838406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838406\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-800x535.jpg\" alt=\"Thirteen-year-old Michael Slater and his computer-controlled mood light.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thirteen-year-old Michael Slater and his computer-controlled mood light. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no one’s fault if they’re not. But what the young people are doing isn’t too far removed, if at all, from the work their elders have done; it’s a continuum of the same efforts. And teaching young people to be technology creators instead of consumers is just as revolutionary as fighting to change unjust policies.\u003c/p>\n\u003cp>Think about it: in this over-policed and under-resourced neighborhood in the middle of Oakland, a city where the only thing popping up quicker than luxury apartments are tents for the homeless, and where immigrants and black folks alike are \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly treated\u003c/a> as criminals for simply existing, these young folks were hacking away at a brighter future—even if it’s as simple as creating robots that draw flowers or lights that uplift their spirits.\u003c/p>\n\u003cp>And that’s important in the flatlands of Deep East Oakland.\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 can tell that’s my baby, right?!?!” I overheard LaTalya Parrish say, as I walked into the \u003ca href=\"https://www.degetc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">David E. Glover Center\u003c/a> in East Oakland on the evening of July 25.\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 sound of a proud mother was music to my ears, especially after the week that had been in Oakland. On top of the heinous killing of Nia Wilson and attempted murder of her sister Lahtifa at MacArthur Bart Station, there had been a number of violent incidents in the community. That’s all coupled with the constant cascade from the Oval Office.\u003c/p>\n\u003cp>I needed to hear the sound of LaTalya’s praise; and Hesten, her 13 year-old son, was well deserving of it. Wearing his Sunday best, he sat at the front desk greeting guests with a smile and passing out programs for the open house, during which he was scheduled to speak about coding and creating ways to “hack the system” during the center’s five-week summer program for teens.\u003c/p>\n\u003cfigure id=\"attachment_13838404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-800x535.jpg\" alt=\"Hesten Parrish gives a presentation at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1920x1283.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2497.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hesten Parrish gives a presentation at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You probably don’t need me to tell you that in East Oakland, there aren’t many opportunities for young folks to learn how to code. There’s other programs in Oakland, yes, but few in that part of town. But what you might not know is that Glover Center programs are entirely free.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>According to the center’s creative director Olivia Cueva, the Glover Center exists to allow people to “get access to the tools to then design and build things that will actually serve them and our greater community at large.”\u003c/p>\n\u003cp>Or, as Cueva later elaborated to me, “For too long, tech in the Bay has been understood to be a white space and a transplant space. What would it mean to actually have a \u003cem>free\u003c/em> technology, design, and maker space that allows Oakland and Bay Area natives to be in charge of what they want to create for their community—and the world?”\u003c/p>\n\u003cfigure id=\"attachment_13838403\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-800x535.jpg\" alt=\"An attendee of the David E. Glover Center plays with a VR headset.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2471-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An attendee of the David E. Glover Center plays with a VR headset. \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\">W\u003c/span>aiting for Hesten’s speech, I walked around the building where a handful of young folks displayed the gadgets and apps they’d created over the summer.\u003c/p>\n\u003cp>A mobile robot wheeled past my shins in the hallway. A young person wore 3-D goggles, using his hands to play what looked to be virtual tennis. And, in a dimly lit room, I met 13-year-old Michael Slater sitting behind a desk with a “mood light” he’d created using a combination of construction paper, LED lights and wires connecting the light to a computer through an Arduino board, which allowed him to program the lights’ hues.\u003c/p>\n\u003cp>I asked why he created it. “sometimes I get sad, like when I lose a game of Fortnite or when something bad happens,” Michael said. “This light makes me happy.”\u003c/p>\n\u003cp>Michael’s mother, Abarea Monique Slater, and grandmother, Carrie Banks, were in the room as well; almost cheering the young man on. When asked how she felt about the summer program, Slater said, “Everything else was expensive, and this was right up his alley—he likes robotics!”\u003c/p>\n\u003cp>Michael’s grandmother struck a more serious tone. “It’s important that he has a broader view of the world,” she added, “because at this age we start losing our boys.”\u003c/p>\n\u003cfigure id=\"attachment_13838408\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838408\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-800x535.jpg\" alt='A \"drawbot\" created by 13-year-old Solyana Beyene.' width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2581-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A “drawbot” created by 13-year-old Solyana Beyene. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In another room full of games and robots, 13-year-old Solyana Beyene kneeled over her creation and explained the process of creating a “Drawbot,” which, as the name implies, is a robot programmed to draw. When loaded with colored pencils and placed on chart paper, the robot spins donuts and leaves overlapping colored circles. Solyana explained that it took a little trial-and-error, but overall the building of it went quickly: “First I just started with a robot, but a robot seemed simple, so I just put some pencils in there, and I made it make a circle.”\u003c/p>\n\u003cp>One of her instructors, Noah Jones, assisted her in making the pattern into a flower shape, but even that didn’t take too long to master. “I found a few viruses in there, and then I fixed it,” Solyana told me, her family sitting nearby her presentation.\u003c/p>\n\u003cp>Then we were ushered into the main room, where Cueva and fellow instructor Tanya Campbell introduced Hesten’s presentation.\u003c/p>\n\u003cfigure id=\"attachment_13838402\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-800x535.jpg\" alt=\"Solyana Beyene answers a question on a panel at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1920x1283.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2519.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solyana Beyene answers a question on a panel at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Standing in front of a laptop projector, Hesten told the crowd about a recent issue he had with a teacher who gave him a grade he felt he didn’t deserve. After earning relatively high marks on his classwork, homework and tests, Hesten received a failing grade in the class, and felt there were some racial biases on the teacher’s part.\u003c/p>\n\u003cp>Instead of getting enraged, Hesten got innovative. He spent a few weeks developing an app that would allow students and parents to readily communicate with teachers, in an effort to create transparency around grading.\u003c/p>\n\u003cp>The app, called Flag The Grade, is geared to serve students from elementary school to high school. When asked if the app is on the market, Hesten replied, “It’s in prototype form, and that’s why I need resources—like money.” The crowd chuckled, but Hesten was serious: he explained that further investment would go toward “a designer, developer, and a new laptop.” (Hesten has reportedly already received $2,000 from the San Francisco Foundation for further research and development.)\u003c/p>\n\u003cp>At the end, Hesten was met with a thunderous applause.\u003c/p>\n\u003cfigure id=\"attachment_13838407\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838407\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-800x535.jpg\" alt=\"Angela Glover Blackwell asks a question during a panel at the David E. Glover Center, July 25, 2018.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2529-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angela Glover Blackwell asks a question during a panel at the David E. Glover Center, July 25, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>wo interactions stuck with me in the Q&A that followed. The first occurred when Joe Brooks, of the Brotherhood of Elders Network, stood and asked what else the young people need, if they could have anything they wanted. Solyana, who noted that she’d recently immigrated to the United States, said she’d request nothing more, happy with the program as it is.\u003c/p>\n\u003cp>The second came when PolicyLink founder Angela Glover Blackwell stood and said that her brother—the late David E. Glover, for whom the center was named—would be proud of these young people’s efforts, and then thanked them.\u003c/p>\n\u003cp>Those were two subtle but very significant moments.\u003c/p>\n\u003cp>I left wondering if those 12- and 13-year-olds on stage had any idea of who Joe Brooks is, and how he once fought to start a sovereign nation inside of the United States called the Republic of New Africa. I wondered if those teenagers were familiar with Angela Glover Blackwell, and her lifelong work to use public policy to create better outcomes for low-income people and people of color.\u003c/p>\n\u003cfigure id=\"attachment_13838406\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838406\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-800x535.jpg\" alt=\"Thirteen-year-old Michael Slater and his computer-controlled mood light.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/LRG-DSC2464-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Thirteen-year-old Michael Slater and his computer-controlled mood light. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s no one’s fault if they’re not. But what the young people are doing isn’t too far removed, if at all, from the work their elders have done; it’s a continuum of the same efforts. And teaching young people to be technology creators instead of consumers is just as revolutionary as fighting to change unjust policies.\u003c/p>\n\u003cp>Think about it: in this over-policed and under-resourced neighborhood in the middle of Oakland, a city where the only thing popping up quicker than luxury apartments are tents for the homeless, and where immigrants and black folks alike are \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly treated\u003c/a> as criminals for simply existing, these young folks were hacking away at a brighter future—even if it’s as simple as creating robots that draw flowers or lights that uplift their spirits.\u003c/p>\n\u003cp>And that’s important in the flatlands of Deep East Oakland.\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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"content": "\u003cp>The “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">BBQ’n While Black\u003c/a>” protest. Marshawn Lynch’s \u003ca href=\"https://www.kqed.org/arts/13836150/the-power-of-taking-up-space-at-marshawn-lynchs-oakland-rideout\" target=\"_blank\" rel=\"noopener noreferrer\">community bike ride\u003c/a>. \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>‘s grassroots efforts to help the homeless. What do these things have in common? Regular readers of Pendarvis Harshaw’s \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts column\u003c/a> will know that these are examples of Oakland’s African-American community’s resilience in the face of gentrification and displacement.\u003c/p>\n\u003cp>You’ve likely heard stories of friends and neighbors leaving The Town for cities with cheaper rents, like Antioch and Sacramento. You’ve probably noticed that homeless encampments in Oakland have grown substantially in the past few years, and that there are a lot more unsheltered people on Oakland’s streets. And you’ve seen the viral videos of the white woman who called the cops on a black family having a barbecue at Lake Merritt (prompting “BBQ’n While Black”); or the white man who \u003ca href=\"https://www.sfchronicle.com/crime/article/Charges-filed-against-Oakland-s-Jogger-12991999.php\" target=\"_blank\" rel=\"noopener noreferrer\">threw a homeless man’s belongings\u003c/a> into the same lake; or read about white residents \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Black-firefighter-on-inspection-duty-in-Oakland-13021084.php\" target=\"_blank\" rel=\"noopener noreferrer\">calling the police on black firefighters\u003c/a> doing their jobs in the Oakland hills—the list goes on.\u003c/p>\n\u003cp>In a recent conversation on Facebook Live, Harshaw and I took a look at some of the statistics that tell us how much Oakland has actually changed in the past 15 years, as well as the human stories and anecdotes behind the numbers. How has Oakland’s culture shifted as its black population, which in 1980 made up 48 percent of the city’s total population, now hovers around 24 percent? What legislation has made low-income renters vulnerable to eviction and accelerated the homelessness crisis? What are Oakland natives, and black Oaklanders especially, doing to fight cultural erasure?\u003c/p>\n\u003cp>Watch below as we investigate these questions, and keep up with \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Harshaw’s column\u003c/a> as he continues to explore the issues facing his hometown.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FKQED%2Fvideos%2F10155318032461191%2F&show_text=0&width=560\" width=\"560\" height=\"315\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The “\u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">BBQ’n While Black\u003c/a>” protest. Marshawn Lynch’s \u003ca href=\"https://www.kqed.org/arts/13836150/the-power-of-taking-up-space-at-marshawn-lynchs-oakland-rideout\" target=\"_blank\" rel=\"noopener noreferrer\">community bike ride\u003c/a>. \u003ca href=\"https://www.kqed.org/arts/13828811/in-the-field-with-east-oakland-collective-a-grassroots-group-aiding-the-homeless\" target=\"_blank\" rel=\"noopener noreferrer\">The East Oakland Collective\u003c/a>‘s grassroots efforts to help the homeless. What do these things have in common? Regular readers of Pendarvis Harshaw’s \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Arts column\u003c/a> will know that these are examples of Oakland’s African-American community’s resilience in the face of gentrification and displacement.\u003c/p>\n\u003cp>You’ve likely heard stories of friends and neighbors leaving The Town for cities with cheaper rents, like Antioch and Sacramento. You’ve probably noticed that homeless encampments in Oakland have grown substantially in the past few years, and that there are a lot more unsheltered people on Oakland’s streets. And you’ve seen the viral videos of the white woman who called the cops on a black family having a barbecue at Lake Merritt (prompting “BBQ’n While Black”); or the white man who \u003ca href=\"https://www.sfchronicle.com/crime/article/Charges-filed-against-Oakland-s-Jogger-12991999.php\" target=\"_blank\" rel=\"noopener noreferrer\">threw a homeless man’s belongings\u003c/a> into the same lake; or read about white residents \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Black-firefighter-on-inspection-duty-in-Oakland-13021084.php\" target=\"_blank\" rel=\"noopener noreferrer\">calling the police on black firefighters\u003c/a> doing their jobs in the Oakland hills—the list goes on.\u003c/p>\n\u003cp>In a recent conversation on Facebook Live, Harshaw and I took a look at some of the statistics that tell us how much Oakland has actually changed in the past 15 years, as well as the human stories and anecdotes behind the numbers. How has Oakland’s culture shifted as its black population, which in 1980 made up 48 percent of the city’s total population, now hovers around 24 percent? What legislation has made low-income renters vulnerable to eviction and accelerated the homelessness crisis? What are Oakland natives, and black Oaklanders especially, doing to fight cultural erasure?\u003c/p>\n\u003cp>Watch below as we investigate these questions, and keep up with \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Harshaw’s column\u003c/a> as he continues to explore the issues facing his hometown.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.facebook.com/plugins/video.php?href=https%3A%2F%2Fwww.facebook.com%2FKQED%2Fvideos%2F10155318032461191%2F&show_text=0&width=560\" width=\"560\" height=\"315\" style=\"border:none;overflow:hidden\" scrolling=\"no\" frameborder=\"0\" allowtransparency=\"true\" allowfullscreen=\"true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Rapper and Pianist Kev Choice Makes Music to Heal Oakland—and Himself",
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"content": "\u003cp>Kev Choice is a rapper, educator and classically trained pianist who seems to be everywhere in the local music scene. Bay Area concertgoers might recognize him from Yoshi’s or SFJazz, where he’s performed with his Kev Choice Ensemble, or remember him from behind the keys accompanying local artists like Too Short and Rayana Jay.\u003c/p>\n\u003cp>Choice, who was born and raised in Oakland, says that his main goal with his music is to inspire people of different walks of life and create safe spaces for self-expression. \u003ca href=\"https://kevchoice.wordpress.com/\">His music\u003c/a> is also a way for him to celebrate Oakland’s culture and give back to his community. For Choice, Oakland has always been a mecca for diversity and a center of black excellence. He grew up with black teachers and role models who inspired him to pursue his musical aspirations; now as an adult, he pays it forward by regularly mentoring and performing with student musicians from local high schools.\u003c/p>\n\u003cp>“When I started my band Kev Choice Ensemble, really my first main goal was being able to have a band of young, African-American musicians who would play music at a high level and high caliber,” he says.\u003c/p>\n\u003cp>One of Choice’s most important works to date is his \u003ca href=\"https://www.oaklandsymphony.org/event/rooted-in-oakland/\">\u003cem>Soul Restoration Suite\u003c/em>\u003c/a>, a piece commissioned by the Oakland Symphony. He says he wrote it when he was going through a period of personal life changes while watching his hometown transform as a result of ongoing gentrification. “It was me trying to restore my soul and also trying to restore the soul of Oakland at the same time,” he says. The piece mixes hip-hop and classical influences (think Ravel meets A Tribe Called Quest), and Choice debuted it at the Oakland Symphony in March 2018 with the Kev Choice Ensemble, Oakland School for the Arts High School Vocal Chorus and vocalists Jennifer Johns and Viveca Hawkins.\u003c/p>\n\u003cp>“That word restoration came to me,” Choice says. “I was trying to get back to who I really am as a person—what got me into music, that desire to be better, that desire to grow—at the same time thinking about what Oakland is right now. How do we get back to that community of support, of pride?” — \u003cem>Text by Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kev Choice is a rapper, educator and classically trained pianist who seems to be everywhere in the local music scene. Bay Area concertgoers might recognize him from Yoshi’s or SFJazz, where he’s performed with his Kev Choice Ensemble, or remember him from behind the keys accompanying local artists like Too Short and Rayana Jay.\u003c/p>\n\u003cp>Choice, who was born and raised in Oakland, says that his main goal with his music is to inspire people of different walks of life and create safe spaces for self-expression. \u003ca href=\"https://kevchoice.wordpress.com/\">His music\u003c/a> is also a way for him to celebrate Oakland’s culture and give back to his community. For Choice, Oakland has always been a mecca for diversity and a center of black excellence. He grew up with black teachers and role models who inspired him to pursue his musical aspirations; now as an adult, he pays it forward by regularly mentoring and performing with student musicians from local high schools.\u003c/p>\n\u003cp>“When I started my band Kev Choice Ensemble, really my first main goal was being able to have a band of young, African-American musicians who would play music at a high level and high caliber,” he says.\u003c/p>\n\u003cp>One of Choice’s most important works to date is his \u003ca href=\"https://www.oaklandsymphony.org/event/rooted-in-oakland/\">\u003cem>Soul Restoration Suite\u003c/em>\u003c/a>, a piece commissioned by the Oakland Symphony. He says he wrote it when he was going through a period of personal life changes while watching his hometown transform as a result of ongoing gentrification. “It was me trying to restore my soul and also trying to restore the soul of Oakland at the same time,” he says. The piece mixes hip-hop and classical influences (think Ravel meets A Tribe Called Quest), and Choice debuted it at the Oakland Symphony in March 2018 with the Kev Choice Ensemble, Oakland School for the Arts High School Vocal Chorus and vocalists Jennifer Johns and Viveca Hawkins.\u003c/p>\n\u003cp>“That word restoration came to me,” Choice says. “I was trying to get back to who I really am as a person—what got me into music, that desire to be better, that desire to grow—at the same time thinking about what Oakland is right now. How do we get back to that community of support, of pride?” — \u003cem>Text by Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oakland's Experimental Hip-Hop Party Smart Bomb is Blowing Up",
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"content": "\u003cp>It’s just after 11pm on a Saturday night in July, and bodies are spilling out of the second-floor venue of the Legionnaire Saloon in Oakland. It’s crowded. So crowded that finding a spot inside requires patience, fluidity and a string of “excuse me’s.”\u003c/p>\n\u003cp>The DJ, Threesixsashia, drops Deneice Williams’s airy, glittering ’70s R&B single “Free” into her set. There’s not much room to dance, but fervent nods and widely splayed smiles abound at volume 49 of the monthly beat showcase, \u003ca href=\"https://smartbomboakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>.\u003c/p>\n\u003cp>Saturday nights like these have been a regular occurrence since 2013 for the East Bay music and art collective behind the popular party, which spotlights mostly local producers and DJs with an ear for experimental jazz, hip-hop and electronic sounds.\u003c/p>\n\u003cp>“It’s kind of like church,” says co-founder Jason Garcia, who also performs as \u003ca href=\"https://soundcloud.com/asonic-garcia\" target=\"_blank\" rel=\"noopener\">Asonic\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/00CRvTo6F-Q\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born of the imaginations of avid record collectors and crate diggers, “beat music” is a cross-pollination of R&B, hip-hop, jazz and more obscure, cerebral genres like IDM, or intelligent dance music. This type of experimental beatmaking saw a more mainstream crossover when, picking up the baton from the cult producers like Dabrye and J Dilla, producer and head of \u003ca href=\"https://www.alphapuprecords.com/\" target=\"_blank\" rel=\"noopener\">Alpha Pup Records\u003c/a>, Daddy Kev, launched the party \u003ca href=\"http://www.lowendtheoryclub.com/\" target=\"_blank\" rel=\"noopener\">Low End Theory\u003c/a> in 2006. With Low End, Daddy Kev created a platform for influential artists like Flying Lotus, DJ Nobody, Nosaj Thing, Daedelus and Glitch Mob, and laid the groundwork for creating and fostering a community of artists who spun hip-hop into a patchwork of sputtering drums, psychedelic synthesizers and near-suffocating bass.\u003c/p>\n\u003cp>“Those cats inspired everyone,” says Smart Bomb member Andrew Johnson, who makes music as Drewmin. “Everyone tried to run around and do what they were doing.”\u003c/p>\n\u003cp>While Johnson saw the beauty in Low End, he didn’t want to just reproduce the L.A. party. Instead, he sought to give it a distinctly Bay Area spin. “It’s like when people talk about sampling Dilla: don’t bite that guy, do something crazy and new if you want to honor dude,” says Johnson.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2573862317/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“The Bay Area has its own style,” says Garcia. “The headiest people could also be the hyphiest people. There’s a soulfulness that’s in everything, no matter what you do. You come up to the Bay for new ideas, so that’s what we’re trying to be, on the forefront of this type of music.”\u003c/p>\n\u003cp>In the beginning, it was hard to get promoters on board with the nebulous nature of Smart Bomb. “We started it out of sheer lack of any kind of consistent gathering for all the artists we hang around with,” Garcia says.\u003c/p>\n\u003cp>Smart Bomb found a home when Legionnaire owner Zack Turner was on the verge of opening his venue and looking to book local talent. The Irish pub and Smart Bomb volume one both debuted in March 2013.\u003c/p>\n\u003cp>“We were kind of on the fringe of everything,” Garcia says. For the first show, which starred his band Secret Sidewalk, whose music plays like a futurist dispatch of samples, synths and saxophones, he called up friends from different geographic and sonic pockets to assemble his “dream team” line-up: funk-oriented Oakland producer SpaceGhost, San Francisco’s Ruff Draft, Puzzle and Secret Sidewalk member Mike Boo.\u003c/p>\n\u003cp>“There was a wealth of talent in our community that never really had a place to shine before,” Garcia says. In the last five years, Smart Bomb has also booked talent from outside the Bay Area (previous names on the bill include introspective rapper/producer Quelle Chris, Watts-born beatmaker Dibia$e and Ras G, an Afrofuturist, free jazz-inspired producer and DJ out of Los Angeles) but their focus remains on Oakland talent, and people have taken notice.\u003c/p>\n\u003cp>https://youtu.be/PNi_ovN_3CQ\u003c/p>\n\u003cp>The collective is one of six DJ crews picked to play \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">Red Bull Music’s Oakland showcase\u003c/a> this on July 28. Alongside Club Chai, the B-Side Brujas, Another Party Fam, 45 Sessions and NVR OVR, Smart Bomb will round out a party intended to highlight the underground music scenes that make The Town was it is.\u003c/p>\n\u003cp>“As we [continue to] grow, it’s important to have a balance of shining light on new talent and exposing young people to the legends,” Garcia says. This balance of established local talent and up-and-comers, the crew envisions, is a chance to show greener artists the ropes.\u003c/p>\n\u003cp>“A lot of these young cats, they’re in their bedrooms being creative, they have amazing imaginations but they don’t know nothing about what kind of cables they need or what kind of plugs; they don’t know about how to hold the mic or what kind of mic to use; they don’t show up with anything,” Andrew explains. “It’s our responsibility to game them up.”\u003c/p>\n\u003cp>In that vein, Smart Bomb isn’t another party. It’s a space of discovery, for those on and off stage.\u003c/p>\n\u003cp>“I feel like this place has changed a lot of people’s lives, because it’s such a family oriented place,” says Cinque Mubarak, a photographer in Smart Bomb (the collective has expanded to include other types of artists who share their ethos of standing on the fringes). Before Smart Bomb, Mubarak says he was very reserved, but the monthly event opened up to him a community of artists.\u003c/p>\n\u003cp>“People grow here. They come every month and see familiar faces, especially people who have social anxiety,” Mubarak says. “I’ve seen them grow so much. If you want to be a wallflower, you can be a wallflower.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Smart Bomb crew performs at Red Bull Music’s Oakland showcase on July 28 at Geoffrey’s Inner Circle. Details \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "Oakland's Experimental Hip-Hop Party Smart Bomb is Blowing Up | KQED",
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"headline": "Oakland's Experimental Hip-Hop Party Smart Bomb is Blowing Up",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s just after 11pm on a Saturday night in July, and bodies are spilling out of the second-floor venue of the Legionnaire Saloon in Oakland. It’s crowded. So crowded that finding a spot inside requires patience, fluidity and a string of “excuse me’s.”\u003c/p>\n\u003cp>The DJ, Threesixsashia, drops Deneice Williams’s airy, glittering ’70s R&B single “Free” into her set. There’s not much room to dance, but fervent nods and widely splayed smiles abound at volume 49 of the monthly beat showcase, \u003ca href=\"https://smartbomboakland.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Smart Bomb\u003c/a>.\u003c/p>\n\u003cp>Saturday nights like these have been a regular occurrence since 2013 for the East Bay music and art collective behind the popular party, which spotlights mostly local producers and DJs with an ear for experimental jazz, hip-hop and electronic sounds.\u003c/p>\n\u003cp>“It’s kind of like church,” says co-founder Jason Garcia, who also performs as \u003ca href=\"https://soundcloud.com/asonic-garcia\" target=\"_blank\" rel=\"noopener\">Asonic\u003c/a>.\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/00CRvTo6F-Q'\n title='//www.youtube.com/embed/00CRvTo6F-Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born of the imaginations of avid record collectors and crate diggers, “beat music” is a cross-pollination of R&B, hip-hop, jazz and more obscure, cerebral genres like IDM, or intelligent dance music. This type of experimental beatmaking saw a more mainstream crossover when, picking up the baton from the cult producers like Dabrye and J Dilla, producer and head of \u003ca href=\"https://www.alphapuprecords.com/\" target=\"_blank\" rel=\"noopener\">Alpha Pup Records\u003c/a>, Daddy Kev, launched the party \u003ca href=\"http://www.lowendtheoryclub.com/\" target=\"_blank\" rel=\"noopener\">Low End Theory\u003c/a> in 2006. With Low End, Daddy Kev created a platform for influential artists like Flying Lotus, DJ Nobody, Nosaj Thing, Daedelus and Glitch Mob, and laid the groundwork for creating and fostering a community of artists who spun hip-hop into a patchwork of sputtering drums, psychedelic synthesizers and near-suffocating bass.\u003c/p>\n\u003cp>“Those cats inspired everyone,” says Smart Bomb member Andrew Johnson, who makes music as Drewmin. “Everyone tried to run around and do what they were doing.”\u003c/p>\n\u003cp>While Johnson saw the beauty in Low End, he didn’t want to just reproduce the L.A. party. Instead, he sought to give it a distinctly Bay Area spin. “It’s like when people talk about sampling Dilla: don’t bite that guy, do something crazy and new if you want to honor dude,” says Johnson.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2573862317/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“The Bay Area has its own style,” says Garcia. “The headiest people could also be the hyphiest people. There’s a soulfulness that’s in everything, no matter what you do. You come up to the Bay for new ideas, so that’s what we’re trying to be, on the forefront of this type of music.”\u003c/p>\n\u003cp>In the beginning, it was hard to get promoters on board with the nebulous nature of Smart Bomb. “We started it out of sheer lack of any kind of consistent gathering for all the artists we hang around with,” Garcia says.\u003c/p>\n\u003cp>Smart Bomb found a home when Legionnaire owner Zack Turner was on the verge of opening his venue and looking to book local talent. The Irish pub and Smart Bomb volume one both debuted in March 2013.\u003c/p>\n\u003cp>“We were kind of on the fringe of everything,” Garcia says. For the first show, which starred his band Secret Sidewalk, whose music plays like a futurist dispatch of samples, synths and saxophones, he called up friends from different geographic and sonic pockets to assemble his “dream team” line-up: funk-oriented Oakland producer SpaceGhost, San Francisco’s Ruff Draft, Puzzle and Secret Sidewalk member Mike Boo.\u003c/p>\n\u003cp>“There was a wealth of talent in our community that never really had a place to shine before,” Garcia says. In the last five years, Smart Bomb has also booked talent from outside the Bay Area (previous names on the bill include introspective rapper/producer Quelle Chris, Watts-born beatmaker Dibia$e and Ras G, an Afrofuturist, free jazz-inspired producer and DJ out of Los Angeles) but their focus remains on Oakland talent, and people have taken notice.\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/PNi_ovN_3CQ'\n title='//www.youtube.com/embed/PNi_ovN_3CQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The collective is one of six DJ crews picked to play \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">Red Bull Music’s Oakland showcase\u003c/a> this on July 28. Alongside Club Chai, the B-Side Brujas, Another Party Fam, 45 Sessions and NVR OVR, Smart Bomb will round out a party intended to highlight the underground music scenes that make The Town was it is.\u003c/p>\n\u003cp>“As we [continue to] grow, it’s important to have a balance of shining light on new talent and exposing young people to the legends,” Garcia says. This balance of established local talent and up-and-comers, the crew envisions, is a chance to show greener artists the ropes.\u003c/p>\n\u003cp>“A lot of these young cats, they’re in their bedrooms being creative, they have amazing imaginations but they don’t know nothing about what kind of cables they need or what kind of plugs; they don’t know about how to hold the mic or what kind of mic to use; they don’t show up with anything,” Andrew explains. “It’s our responsibility to game them up.”\u003c/p>\n\u003cp>In that vein, Smart Bomb isn’t another party. It’s a space of discovery, for those on and off stage.\u003c/p>\n\u003cp>“I feel like this place has changed a lot of people’s lives, because it’s such a family oriented place,” says Cinque Mubarak, a photographer in Smart Bomb (the collective has expanded to include other types of artists who share their ethos of standing on the fringes). Before Smart Bomb, Mubarak says he was very reserved, but the monthly event opened up to him a community of artists.\u003c/p>\n\u003cp>“People grow here. They come every month and see familiar faces, especially people who have social anxiety,” Mubarak says. “I’ve seen them grow so much. If you want to be a wallflower, you can be a wallflower.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Smart Bomb crew performs at Red Bull Music’s Oakland showcase on July 28 at Geoffrey’s Inner Circle. Details \u003ca href=\"https://www.redbull.com/us-en/music/events/red-bull-music-presents-oakland\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nia-wilson-and-the-war-on-black-women",
"title": "Nia Wilson and the War on Black Women",
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"headTitle": "Nia Wilson and the War on Black Women | 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\">N\u003c/span>ia Wilson and her sister Lahtifa did everything right. They were just at the wrong place at the wrong time—the United States of America in 2018.\u003c/p>\n\u003cp>They paid their BART fare. They traveled together. They stayed in a well-lit part of the MacArthur BART station in Oakland at a reasonable hour on a Sunday night. And they were still attacked.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>As one police official put it, Nia was killed “prison style,” a knife through her neck. Her killer also stabbed her sister. Lahtifa lived. Nia didn’t.\u003c/p>\n\u003cp>The first report broke late Sunday evening, with the story widely circulated by the Monday work hours, leading the week’s news cycle. The headline “Two Young Women Stabbed” appeared beside stories of Donald Trump’s Twitter tirade against Iran and R. Kelly’s 19-minute song, in which he apparently admits what we all know he’s been doing to young women. I couldn’t listen to it. When there’s a war on black women, why would I want to listen to the enemy?\u003c/p>\n\u003cfigure id=\"attachment_13837836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9449-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In spite of it all, photos of Nia and support for the Wilson family dominated national social media. Questions arose as to when BART would release surveillance footage or photos of the suspect, including from Oakland’s own Kehlani. As soon as BART officials published a photo of the suspected assailant, John Lee Cowell, his history surfaced: a restraining order filed against him by employees at a Richmond medical facility, a record for a robbery charge, a mention of a recent run-in with BART police. He showed a pattern of being a lewd, erratic person; someone you’d expect to commit an atrocity like this.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Unfortunately, Nia and Lahtifa didn’t expect it.\u003c/p>\n\u003cp>Maybe they were expecting to be safe on BART. What with all its money from the uptick in ridership and recent bond measures, its security guards and promises to replace fake decoy cameras, it should be safe to ride, right? Never mind the fact that BART had had \u003ca href=\"https://www.sfgate.com/crime/article/Teen-s-slaying-may-have-been-BART-s-third-in-13097963.php\" target=\"_blank\" rel=\"noopener noreferrer\">two other unreported homicides\u003c/a> within the past week.\u003c/p>\n\u003cp>Nia and Lahtifa were probably thinking like the majority of people walking the streets of America: if you do everything right, you’ll be safe. America, with all its laws and regulations and anti-terrorism propaganda, \u003cem>should\u003c/em> be safe—regardless of it still being America.\u003c/p>\n\u003cfigure id=\"attachment_13837839\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Nia.jpg\" alt=\"Nia Wilson.\" width=\"600\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-520x679.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nia Wilson.\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>till being America,” you know: a place where a white guy could “randomly” stab two black women on public transportation, and not only walk away from the scene of the crime, but get back on that same form of public transportation the next day. Then, be identified not by BART officials but by an anonymous tipster. Which then allowed the police to calmly arrest him, a domestic terrorist, with no conflict or force.\u003c/p>\n\u003cp>Ahhhh, America. You show your true colors all too often, especially to black women.\u003c/p>\n\u003caside class=\"alignright\">\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13837740/sayhername-10-illustrated-tributes-to-nia-wilson-lighting-up-social-media\" target=\"_blank\" rel=\"noopener noreferrer\">#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11684939/nia-wilsons-purpose-oakland-buries-a-daughter-and-demands-justice-in-her-name\" target=\"_blank\" rel=\"noopener noreferrer\">Nia Wilson’s Purpose: Oakland Buries a Daughter and Demands Justice in Her Name\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’ve got to be honest with ourselves and realize that an unprovoked stabbing of two black women on a public transit platform by a white man isn’t just “random.” It’s a byproduct of our society, America 2018—and every year since Betsy Ross sewed the first flag.\u003c/p>\n\u003cp>These sorts of attacks, which often go unreported, are in addition to the daily injustices black women face. You know, like how according to census figures, a \u003ca href=\"https://www.independent.co.uk/news/world/americas/black-women-become-most-educated-group-in-us-a7063361.html\" target=\"_blank\" rel=\"noopener noreferrer\">higher percentage of black women are enrolled in college\u003c/a> than any other group in America, but suffer \u003ca href=\"https://www.infoplease.com/us/wage-gap/wage-gap-gender-and-race\" target=\"_blank\" rel=\"noopener noreferrer\">payment discrepancies\u003c/a>, earning 64 cents for every dollar a white man earns for the same amount of work. How black women have the highest \u003ca href=\"http://www.laist.com/2018/06/21/black_babies_die_at_twice_the_rate.php\" target=\"_blank\" rel=\"noopener noreferrer\">infant mortality rates\u003c/a>, which is tied to high rates of \u003ca href=\"https://www.propublica.org/article/black-women-disproportionately-suffer-complications-of-pregnancy-and-childbirth-lets-talk-about-it\" target=\"_blank\" rel=\"noopener noreferrer\">maternal mortality rates\u003c/a> for black women.\u003c/p>\n\u003cfigure id=\"attachment_13837837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9492-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with health issues, like heart disease, stroke and diabetes, diseases related to stress are killing black women at an \u003ca href=\"https://www.self.com/story/black-women-health-conditions\" target=\"_blank\" rel=\"noopener noreferrer\">alarming rate\u003c/a>—stress often due to racism and sexism. And while homicides among women of all demographics are over 50 percent likely to be the product of their romantic/former romantic partner, black women die at a \u003ca href=\"https://www.theatlantic.com/health/archive/2017/07/homicides-women/534306/\" target=\"_blank\" rel=\"noopener noreferrer\">higher rate\u003c/a> than any other group when it comes to domestic violence.\u003c/p>\n\u003cp>The Wilson sisters were just two of the many casualties in the war on black women. Many other women read their story and now walk down the street in a deeper fear than before. And yet they continue to walk down the street, to catch the train, to pursue happiness, in spite of the world we live in.\u003c/p>\n\u003cfigure id=\"attachment_13837838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9553-800x533.jpg\" alt=\"A vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\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\">Y\u003c/span>es, there are individuals and organizations who work to make this place more just for women of all backgrounds. Locally, groups like \u003ca href=\"http://misssey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Misssey\u003c/a> and \u003ca href=\"http://www.cceb.org/claires-house/\" target=\"_blank\" rel=\"noopener noreferrer\">Claire’s House\u003c/a> have done and will continue to do that work. In response to this case in particular, activist and organizer \u003ca href=\"https://twitter.com/brownblaze/status/1021500677246398464\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Yates launched a GoFundMe\u003c/a> to “purchase self-defense items such as tasers, pepper spray and attention-getting devices for Black women/femmes and queer persons in Oakland and the Bay Area.”\u003c/p>\n\u003cp>But it’s not solely women’s job to remedy this war. It’d be asinine to think so. The onus is on us, the men. And I’m not just talking about the ones who commit the heinous acts, but the men who let stuff slide. The men who don’t call out misogynistic behavior in their friends. The men who knowingly benefit from a male-dominated society, and quietly go along with it.\u003c/p>\n\u003cfigure id=\"attachment_13837835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9359-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even myself, a man with a platform, who all too often uses it to tell a man’s point of view. It’s my job to lift the voices of the many African-American girls and women who attended a vigil for Nia on Monday afternoon. It’s my job to make sure the photos of the faces, the solemn expressions, the heartbroken children, concerned mothers, and angry community members are amplified. It’s my job to tell the world that these are people who said prayers, and then wiped their tears, balled their fists and punched the sky as they marched to where a group of white supremacists had planned to meet, letting them know we won’t stand for it.\u003c/p>\n\u003cp>The black community of Oakland is beautiful in that way. Even with our flaws and infighting, and in a city where sex trafficking and violence against women has been prevalent for decades, what we won’t let happen is a malicious attack from outsiders. I’m amazed by my community rising to call when moved to do so; such a group of resilient, artistic, spiritual, hardworking folks. People didn’t leave their anger behind social media posts this time around. They showed up at MacArthur BART and made their presence felt.\u003c/p>\n\u003cp>I’m proud to call this home. Maybe why we fight so hard is to ensure this will remain home.\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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"title": "Nia Wilson and the War on Black Women | 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\">N\u003c/span>ia Wilson and her sister Lahtifa did everything right. They were just at the wrong place at the wrong time—the United States of America in 2018.\u003c/p>\n\u003cp>They paid their BART fare. They traveled together. They stayed in a well-lit part of the MacArthur BART station in Oakland at a reasonable hour on a Sunday night. And they were still attacked.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>As one police official put it, Nia was killed “prison style,” a knife through her neck. Her killer also stabbed her sister. Lahtifa lived. Nia didn’t.\u003c/p>\n\u003cp>The first report broke late Sunday evening, with the story widely circulated by the Monday work hours, leading the week’s news cycle. The headline “Two Young Women Stabbed” appeared beside stories of Donald Trump’s Twitter tirade against Iran and R. Kelly’s 19-minute song, in which he apparently admits what we all know he’s been doing to young women. I couldn’t listen to it. When there’s a war on black women, why would I want to listen to the enemy?\u003c/p>\n\u003cfigure id=\"attachment_13837836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837836\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9449-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9449-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In spite of it all, photos of Nia and support for the Wilson family dominated national social media. Questions arose as to when BART would release surveillance footage or photos of the suspect, including from Oakland’s own Kehlani. As soon as BART officials published a photo of the suspected assailant, John Lee Cowell, his history surfaced: a restraining order filed against him by employees at a Richmond medical facility, a record for a robbery charge, a mention of a recent run-in with BART police. He showed a pattern of being a lewd, erratic person; someone you’d expect to commit an atrocity like this.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Unfortunately, Nia and Lahtifa didn’t expect it.\u003c/p>\n\u003cp>Maybe they were expecting to be safe on BART. What with all its money from the uptick in ridership and recent bond measures, its security guards and promises to replace fake decoy cameras, it should be safe to ride, right? Never mind the fact that BART had had \u003ca href=\"https://www.sfgate.com/crime/article/Teen-s-slaying-may-have-been-BART-s-third-in-13097963.php\" target=\"_blank\" rel=\"noopener noreferrer\">two other unreported homicides\u003c/a> within the past week.\u003c/p>\n\u003cp>Nia and Lahtifa were probably thinking like the majority of people walking the streets of America: if you do everything right, you’ll be safe. America, with all its laws and regulations and anti-terrorism propaganda, \u003cem>should\u003c/em> be safe—regardless of it still being America.\u003c/p>\n\u003cfigure id=\"attachment_13837839\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13837839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/Nia.jpg\" alt=\"Nia Wilson.\" width=\"600\" height=\"784\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-240x314.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-375x490.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/Nia-520x679.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nia Wilson.\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>till being America,” you know: a place where a white guy could “randomly” stab two black women on public transportation, and not only walk away from the scene of the crime, but get back on that same form of public transportation the next day. Then, be identified not by BART officials but by an anonymous tipster. Which then allowed the police to calmly arrest him, a domestic terrorist, with no conflict or force.\u003c/p>\n\u003cp>Ahhhh, America. You show your true colors all too often, especially to black women.\u003c/p>\n\u003caside class=\"alignright\">\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13837740/sayhername-10-illustrated-tributes-to-nia-wilson-lighting-up-social-media\" target=\"_blank\" rel=\"noopener noreferrer\">#SayHerName: 10 Illustrated Tributes to Nia Wilson Lighting Up Social Media\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11684939/nia-wilsons-purpose-oakland-buries-a-daughter-and-demands-justice-in-her-name\" target=\"_blank\" rel=\"noopener noreferrer\">Nia Wilson’s Purpose: Oakland Buries a Daughter and Demands Justice in Her Name\u003c/a>\u003c/li>\n\u003c/ul>\n\u003c/aside>\n\u003cp>We’ve got to be honest with ourselves and realize that an unprovoked stabbing of two black women on a public transit platform by a white man isn’t just “random.” It’s a byproduct of our society, America 2018—and every year since Betsy Ross sewed the first flag.\u003c/p>\n\u003cp>These sorts of attacks, which often go unreported, are in addition to the daily injustices black women face. You know, like how according to census figures, a \u003ca href=\"https://www.independent.co.uk/news/world/americas/black-women-become-most-educated-group-in-us-a7063361.html\" target=\"_blank\" rel=\"noopener noreferrer\">higher percentage of black women are enrolled in college\u003c/a> than any other group in America, but suffer \u003ca href=\"https://www.infoplease.com/us/wage-gap/wage-gap-gender-and-race\" target=\"_blank\" rel=\"noopener noreferrer\">payment discrepancies\u003c/a>, earning 64 cents for every dollar a white man earns for the same amount of work. How black women have the highest \u003ca href=\"http://www.laist.com/2018/06/21/black_babies_die_at_twice_the_rate.php\" target=\"_blank\" rel=\"noopener noreferrer\">infant mortality rates\u003c/a>, which is tied to high rates of \u003ca href=\"https://www.propublica.org/article/black-women-disproportionately-suffer-complications-of-pregnancy-and-childbirth-lets-talk-about-it\" target=\"_blank\" rel=\"noopener noreferrer\">maternal mortality rates\u003c/a> for black women.\u003c/p>\n\u003cfigure id=\"attachment_13837837\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837837\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9492-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9492-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Along with health issues, like heart disease, stroke and diabetes, diseases related to stress are killing black women at an \u003ca href=\"https://www.self.com/story/black-women-health-conditions\" target=\"_blank\" rel=\"noopener noreferrer\">alarming rate\u003c/a>—stress often due to racism and sexism. And while homicides among women of all demographics are over 50 percent likely to be the product of their romantic/former romantic partner, black women die at a \u003ca href=\"https://www.theatlantic.com/health/archive/2017/07/homicides-women/534306/\" target=\"_blank\" rel=\"noopener noreferrer\">higher rate\u003c/a> than any other group when it comes to domestic violence.\u003c/p>\n\u003cp>The Wilson sisters were just two of the many casualties in the war on black women. Many other women read their story and now walk down the street in a deeper fear than before. And yet they continue to walk down the street, to catch the train, to pursue happiness, in spite of the world we live in.\u003c/p>\n\u003cfigure id=\"attachment_13837838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9553-800x533.jpg\" alt=\"A vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9553-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\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\">Y\u003c/span>es, there are individuals and organizations who work to make this place more just for women of all backgrounds. Locally, groups like \u003ca href=\"http://misssey.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Misssey\u003c/a> and \u003ca href=\"http://www.cceb.org/claires-house/\" target=\"_blank\" rel=\"noopener noreferrer\">Claire’s House\u003c/a> have done and will continue to do that work. In response to this case in particular, activist and organizer \u003ca href=\"https://twitter.com/brownblaze/status/1021500677246398464\" target=\"_blank\" rel=\"noopener noreferrer\">Ashley Yates launched a GoFundMe\u003c/a> to “purchase self-defense items such as tasers, pepper spray and attention-getting devices for Black women/femmes and queer persons in Oakland and the Bay Area.”\u003c/p>\n\u003cp>But it’s not solely women’s job to remedy this war. It’d be asinine to think so. The onus is on us, the men. And I’m not just talking about the ones who commit the heinous acts, but the men who let stuff slide. The men who don’t call out misogynistic behavior in their friends. The men who knowingly benefit from a male-dominated society, and quietly go along with it.\u003c/p>\n\u003cfigure id=\"attachment_13837835\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837835\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_9359-800x533.jpg\" alt=\"People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_9359-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">People attend a vigil for Nia Wilson at MacArthur BART in Oakland, July 23, 2018. \u003ccite>(Aaron Jamison (IG: @heru32))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Even myself, a man with a platform, who all too often uses it to tell a man’s point of view. It’s my job to lift the voices of the many African-American girls and women who attended a vigil for Nia on Monday afternoon. It’s my job to make sure the photos of the faces, the solemn expressions, the heartbroken children, concerned mothers, and angry community members are amplified. It’s my job to tell the world that these are people who said prayers, and then wiped their tears, balled their fists and punched the sky as they marched to where a group of white supremacists had planned to meet, letting them know we won’t stand for it.\u003c/p>\n\u003cp>The black community of Oakland is beautiful in that way. Even with our flaws and infighting, and in a city where sex trafficking and violence against women has been prevalent for decades, what we won’t let happen is a malicious attack from outsiders. I’m amazed by my community rising to call when moved to do so; such a group of resilient, artistic, spiritual, hardworking folks. People didn’t leave their anger behind social media posts this time around. They showed up at MacArthur BART and made their presence felt.\u003c/p>\n\u003cp>I’m proud to call this home. Maybe why we fight so hard is to ensure this will remain home.\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": "What the Complicated Friendship in ‘Blindspotting’ Reveals About Race",
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"content": "\u003cp>Oftentimes, real life isn’t full of heroes and villains—it’s full of imperfect individuals trying to make do with imperfect circumstances, and wounding each other in the process. That’s a sentiment that comes across beautifully and poetically in \u003cem>Blindspotting\u003c/em>, a new film that examines a complicated friendship set to the backdrop of heightening racial tensions in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>Collin (played by co-writer Daveed Diggs) is kindhearted and quiet, and trying desperately to get through his last three days of probation without going back to jail. Miles (Diggs’ co-writer Rafael Casal) is a young dad with a comparatively stable life, but he also has an angry streak and is prone to blow-ups and confrontations. Collin is black; Miles is white. And—surprise—Collin is typically the one who faces consequences when the two best friends get in trouble, often because of Miles’s reckless behavior.\u003c/p>\n\u003cp>https://youtu.be/-9-HBqVbtTo\u003c/p>\n\u003cp>Through the guys’ day-to-day work as movers, \u003cem>Blindspotting\u003c/em> does a brilliant job showing gentrification as an ongoing process; they help an art gallery owner pack up his space, and clear out an old Victorian where a black family used to live. The film doesn’t let the viewer escape the sobering realities of the housing crisis, but the two friends’ quick-witted back-and-forth provides much-needed comic relief throughout. The culture clashes between new and old Oakland—like the guys’ friend Dez (Jon Chaffin), whose side hustles include driving for Uber and selling illegal guns, or the $10 green juice at the liquor store—are some of the funniest parts of the movie.\u003c/p>\n\u003cp>But the film’s humor often functions as laughter to keep from crying, and Collin and Miles’s radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block. In a way, \u003cem>Blindspotting\u003c/em> is like a controlled study. Miles and Collin come from similar class backgrounds, went to the same schools and even have the same job. But their different ethnicities drastically alter how they’re treated and perceived, and the tension that grows between them as their lives change is one of the dark comedy’s most emotionally poignant threads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miles, the white friend, strives to fit in with the mostly black community he grew up in. With his slang, grill and neck tattoo, some people read him as a poser, so he constantly feels the need to prove that he’s really from The Town.\u003c/p>\n\u003cp>But despite his unquestionable Oakland cred, there are telling moments where Miles’s whiteness makes him blind to, and sometimes callous towards, other characters’ struggles—struggles that don’t directly affect him because of his race.\u003c/p>\n\u003cp>One of these crucial scenes happens when Collin comes over to Miles’s place to tell him that he witnessed a police officer kill a young, black man on his drive home the day before. Miles brushes him off and quickly goes back to roughhousing with his son, Sean. “I’m a tough guy! I’m a tough guy,” Miles makes his kid repeat while egging him on to pummel Uncle Collin with punches.\u003c/p>\n\u003cp>Miles seems oblivious to the intense emotions Collin is dealing with after witnessing the murder; to him, it’s just one of many police shootings that have made headlines in recent years. His lack of sensitivity is apparent throughout the film. Later, when watching the news about the shooting, Miles loudly talks over his girlfriend, Ashley (Jasmine Cephas Jones), who is black, as she’s processing the racialized violence on screen. The moment is quick and subtle, maybe not enough to call Miles out if you were in the room. But as the film progresses, a distinct pattern of behavior emerges, and tensions between Miles and Collin reach a fever pitch.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Miles and Collin work together every day, their lives exist largely on parallel, separate tracks. As the clock counts down to the end of his probation, Collin is paranoid that he’ll find himself in the wrong place at the wrong time and wind up back in the system. The film poignantly articulates the tension behind every move he makes; how a police car driving by at night might not be as big a deal to a white person without a record, but, to Collin, elicits hair-raising, heart-palpitating fear that he’ll lose everything if he makes one false move. Characters like Collin’s halfway house supervisor articulate the words “convicted felon” with gravity, as if it’s a brand, a weight, that Collin must now bear.\u003c/p>\n\u003cp>Meanwhile, Miles has a chip on his shoulder because he sometimes gets mistaken for a white gentrifier. It’s easy to empathize with his anger that his city is changing; its culture and history are being erased; and fellow Oakland natives all around him are losing their homes. But the ignorant ways Miles goes about acting out his righteous anger only expose more of his blind spots about race.\u003c/p>\n\u003cp>While Miles’s worst fear is that he’ll be mistaken for a newcomer with a tech job, Collin is afraid that a paranoid white person stereotyping him as the “big, black guy with dreads” (as one character describes him) could cost him his freedom, or even his life.\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these clashes of black and white, \u003cem>Blindspotting\u003c/em> is anything \u003cem>but\u003c/em> black-and-white. There are many positives to Miles and Collin’s friendship, too, and it’s complicated. Miles isn’t just a caricature of a blustering, blundering white guy; for all his rough edges, his realness is redeeming. Collin is also imperfect, and he has his reasons for keeping Miles in his life.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> isn’t by any means light moviegoing fare, but Diggs and Casal manage to pull off a hilarious, fast-paced comedy adventure, thanks in large part to a very funny supporting cast and director Carlos Lopez Estrada’s striking use of visuals and physical comedy.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> is no basic gentrification allegory, where the message is plainly written on the wall. It shows human relationships at their messiest and most hilarious, and has the power to make one think critically about how one’s actions impact others on a macro and micro level.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in select theaters July 20.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oftentimes, real life isn’t full of heroes and villains—it’s full of imperfect individuals trying to make do with imperfect circumstances, and wounding each other in the process. That’s a sentiment that comes across beautifully and poetically in \u003cem>Blindspotting\u003c/em>, a new film that examines a complicated friendship set to the backdrop of heightening racial tensions in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>Collin (played by co-writer Daveed Diggs) is kindhearted and quiet, and trying desperately to get through his last three days of probation without going back to jail. Miles (Diggs’ co-writer Rafael Casal) is a young dad with a comparatively stable life, but he also has an angry streak and is prone to blow-ups and confrontations. Collin is black; Miles is white. And—surprise—Collin is typically the one who faces consequences when the two best friends get in trouble, often because of Miles’s reckless behavior.\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/-9-HBqVbtTo'\n title='//www.youtube.com/embed/-9-HBqVbtTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through the guys’ day-to-day work as movers, \u003cem>Blindspotting\u003c/em> does a brilliant job showing gentrification as an ongoing process; they help an art gallery owner pack up his space, and clear out an old Victorian where a black family used to live. The film doesn’t let the viewer escape the sobering realities of the housing crisis, but the two friends’ quick-witted back-and-forth provides much-needed comic relief throughout. The culture clashes between new and old Oakland—like the guys’ friend Dez (Jon Chaffin), whose side hustles include driving for Uber and selling illegal guns, or the $10 green juice at the liquor store—are some of the funniest parts of the movie.\u003c/p>\n\u003cp>But the film’s humor often functions as laughter to keep from crying, and Collin and Miles’s radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block. In a way, \u003cem>Blindspotting\u003c/em> is like a controlled study. Miles and Collin come from similar class backgrounds, went to the same schools and even have the same job. But their different ethnicities drastically alter how they’re treated and perceived, and the tension that grows between them as their lives change is one of the dark comedy’s most emotionally poignant threads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miles, the white friend, strives to fit in with the mostly black community he grew up in. With his slang, grill and neck tattoo, some people read him as a poser, so he constantly feels the need to prove that he’s really from The Town.\u003c/p>\n\u003cp>But despite his unquestionable Oakland cred, there are telling moments where Miles’s whiteness makes him blind to, and sometimes callous towards, other characters’ struggles—struggles that don’t directly affect him because of his race.\u003c/p>\n\u003cp>One of these crucial scenes happens when Collin comes over to Miles’s place to tell him that he witnessed a police officer kill a young, black man on his drive home the day before. Miles brushes him off and quickly goes back to roughhousing with his son, Sean. “I’m a tough guy! I’m a tough guy,” Miles makes his kid repeat while egging him on to pummel Uncle Collin with punches.\u003c/p>\n\u003cp>Miles seems oblivious to the intense emotions Collin is dealing with after witnessing the murder; to him, it’s just one of many police shootings that have made headlines in recent years. His lack of sensitivity is apparent throughout the film. Later, when watching the news about the shooting, Miles loudly talks over his girlfriend, Ashley (Jasmine Cephas Jones), who is black, as she’s processing the racialized violence on screen. The moment is quick and subtle, maybe not enough to call Miles out if you were in the room. But as the film progresses, a distinct pattern of behavior emerges, and tensions between Miles and Collin reach a fever pitch.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Miles and Collin work together every day, their lives exist largely on parallel, separate tracks. As the clock counts down to the end of his probation, Collin is paranoid that he’ll find himself in the wrong place at the wrong time and wind up back in the system. The film poignantly articulates the tension behind every move he makes; how a police car driving by at night might not be as big a deal to a white person without a record, but, to Collin, elicits hair-raising, heart-palpitating fear that he’ll lose everything if he makes one false move. Characters like Collin’s halfway house supervisor articulate the words “convicted felon” with gravity, as if it’s a brand, a weight, that Collin must now bear.\u003c/p>\n\u003cp>Meanwhile, Miles has a chip on his shoulder because he sometimes gets mistaken for a white gentrifier. It’s easy to empathize with his anger that his city is changing; its culture and history are being erased; and fellow Oakland natives all around him are losing their homes. But the ignorant ways Miles goes about acting out his righteous anger only expose more of his blind spots about race.\u003c/p>\n\u003cp>While Miles’s worst fear is that he’ll be mistaken for a newcomer with a tech job, Collin is afraid that a paranoid white person stereotyping him as the “big, black guy with dreads” (as one character describes him) could cost him his freedom, or even his life.\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these clashes of black and white, \u003cem>Blindspotting\u003c/em> is anything \u003cem>but\u003c/em> black-and-white. There are many positives to Miles and Collin’s friendship, too, and it’s complicated. Miles isn’t just a caricature of a blustering, blundering white guy; for all his rough edges, his realness is redeeming. Collin is also imperfect, and he has his reasons for keeping Miles in his life.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> isn’t by any means light moviegoing fare, but Diggs and Casal manage to pull off a hilarious, fast-paced comedy adventure, thanks in large part to a very funny supporting cast and director Carlos Lopez Estrada’s striking use of visuals and physical comedy.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> is no basic gentrification allegory, where the message is plainly written on the wall. It shows human relationships at their messiest and most hilarious, and has the power to make one think critically about how one’s actions impact others on a macro and micro level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in select theaters July 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Blindspotting' is a Spot-On Portrait of an Oakland in Flux",
"headTitle": "‘Blindspotting’ is a Spot-On Portrait of an Oakland in Flux | KQED",
"content": "\u003cp>For Oakland natives, the conversation these days is less about what high-rise is going up where: instead, it’s geared towards how these new buildings further fuel gentrification.\u003c/p>\n\u003cp>In 2017, the City of Oakland issued permits for \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=3517396&GUID=4A2D558C-DE95-4282-8480-0998A7498256&Options=ID%7CText%7CAttachments%7COther%7C&Search=housing+element\" target=\"_blank\" rel=\"noopener noreferrer\">4,284 total units\u003c/a>, with only 324 units falling under affordable housing. This ongoing trend has changed The Town’s demographics over the past decade. For those who do not live here anymore—whether they chose to move away or were forced out—coming home is always a shocking sight, far more so than to residents who see the changes daily.\u003c/p>\n\u003cp>Oakland’s gentrification serves as the backdrop in \u003cem>Blindspotting\u003c/em>. Co-written by and starring Oakland natives Rafael Casal and Daveed Diggs, the new film explores the intersection of race, class and police brutality while telling the story of two friends, Miles and Collin, and how they navigate their daily lives. Collin (Diggs) is a convicted felon with three days left on parole, and Miles (Casal) is his hot-headed childhood friend who might jeopardize his freedom. The movie comes out Friday, July 20.\u003c/p>\n\u003cp>https://youtu.be/-9-HBqVbtTo\u003c/p>\n\u003cp>With this impressive big-screen debut, Casal and Diggs have come a long way since they met at Berkeley High School, later working on music and uploading videos videos to Casal’s \u003ca href=\"https://www.youtube.com/watch?v=j3S-Zs3tvdY\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. Now, they live in Los Angeles, and they’ve made names for themselves outside of the Bay Area. Spoken-word poet Casal appeared on HBO’s \u003cem>Def Poetry\u003c/em>, performed and taught nationwide with YouthSpeaks (which Diggs was also a part of) and is also a two-time Brave New Voices poetry slam champion. Diggs, who raps in the group \u003ca href=\"http://www.clppng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">clipping.\u003c/a>, is best-known for his dual portrayal of Thomas Jefferson and Marquis de Lafayette in the original run of the smash-hit Broadway musical \u003cem>Hamilton\u003c/em> (his portrayal earned him a Tony Award in 2016). But he’s also landed roles in the movie \u003cem>Younger\u003c/em>, ABC’s \u003cem>Black-ish\u003c/em>, and Netflix’s \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair of friends worked on the \u003cem>Blindspotting\u003c/em> movie script over the past 10 years. When they first started, Diggs lived in Fruitvale, a few blocks away from where a BART Police officer gunned down Oscar Grant in 2009. From the script’s inception to now, the national conversation surrounding police brutality escalated and then fizzled out, as more and more cases became passing hashtags and officers were acquitted or not charged at all.\u003c/p>\n\u003cp>“That’s the biggest difference between the first draft of the script and where we ended up,” Diggs says. “We were trying to match the nature of the national conversation about these kinds of killings. When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg\" alt=\"Diggs and Casal play best friends who work together as movers. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diggs and Casal play best friends who work together as movers. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> is, simply put, a love letter to Oakland. A more complex way to describe it would be as a raw, poetic and timely film that accurately depicts the trials and tribulations that people of color go through in order to survive and provide for their families—especially those convicted of a crime, who served their time and are trying to rebuild their lives within a system that wants them to fail.\u003c/p>\n\u003cp>For Oaklanders, the film will feel familiar: many of the scenes take place in recognizable locations; the hella Town Biz soundtrack includes Fantastic Negrito, Mistah F.A.B and E-40; some notable locals make cameos. And then, sadly, there’s the sight of the countless homeless encampments we see on our daily commutes. The cinematography is as beautiful as it is daunting. Moviegoers get to see the gentrified parts of Oakland that newcomers are attracted to, as well as the displacement—a blind spot for some recent transplants.\u003c/p>\n\u003ch2>Contending with The Town’s changing landscape\u003c/h2>\n\u003cp>The \u003cem>Blindspotting \u003c/em>narrative stems from a life-altering moment. Collin happens to witness a police shooting that results in the death of a black man named Randall Marshall. The film follows Collin as he navigates his final days on parole while dealing with the post-traumatic effects of witnessing the shooting—not to mention Miles’ short fuse.\u003c/p>\n\u003cp>A powerful scene shows Collin on his daily run through the Mountain View Cemetery the day after witnessing the police killing. Still disturbed from the incident, Collin begins to hallucinate and sees black men, dressed in black, standing in front of each grave he runs past. Once he reaches the the top of the hill, the last face he sees is that of a bloody Marshall.\u003c/p>\n\u003cp>“It’s Collin finally seeing where he is, and seeing himself in it,” Casal says. “The whole film, he’s realizing how similar he is to the person he saw that died, and how inevitable it feels. I think that inevitability is the PTSD. It’s the torture that it feels like everything is conspiring towards his death, because to a certain degree, it is. The probation system is hell bent on sending you back to prison. Police are policing and murdering black men at a higher rate.”\u003c/p>\n\u003cfigure id=\"attachment_13837241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg\" alt=\"Collin (Daveed Diggs) and Val (Janina Gavankar) in 'Blindspotting.'\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1200x668.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Collin (Daveed Diggs) and Val (Janina Gavankar) in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> does an exceptional job explaining how gentrification affects people of color who have called Oakland home for generations. Rents have sky-rocketed in recent years. (Finance site Walletwyse released a \u003ca href=\"https://www.walletwyse.com/articles/worldwide-rental-price-index/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> last week determining that Oakland has the fifth highest average rent in the world, tied with Hong Kong.) In the film, Collin and Miles work as movers, and every day as part of their job, they see how gentrification reshapes Oakland’s landscape, both structurally and racially.\u003c/p>\n\u003cp>One day, they clear “junk” out of a house in West Oakland that’s scheduled to be renovated—a house where a black family once resided. While clearing stuff out, Collin comes across a broken picture frame and a photo album; this sentimental moment makes it all the more real that this now-gutted Victorian was recently someone’s home.\u003c/p>\n\u003cp>The next day, the two friends help the owner of an art gallery move out of his space. The owner chit-chats with Collin and Miles about displacement as they pack black-and-white frames showing oak trees superimposed onto images of houses and freeways all around Oakland. “They are chopping us down,” the gallery owner tells Collin and Miles as a reference to displacement—just like oak trees were chopped down to make way for development.\u003c/p>\n\u003cp>This scene is not a far cry from what is happening today in Oakland, with West Oakland’s Alena Museum, a creative space for people of the African diaspora, \u003ca href=\"https://www.eastbaytimes.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">currently facing eviction\u003c/a>.\u003c/p>\n\u003cp>Oak trees are an important element throughout the film. The setting of one of the film’s most climactic clashes between new and old Oakland is a modern, slick house stuck between two older Victorians. The home, Casal points out, was built around a dead oak tree. In one of the scenes, the homeowner proudly shows off his coffee table, an actual oak tree stump.\u003c/p>\n\u003cp>“We wrote this oak tree stump as sort of a punchline of this parallel between the clearing out of oak trees and the clearing out of poor people of color,” Casal says.\u003c/p>\n\u003cp>He and Diggs were shocked to learn that their punchline was, in fact, not far from reality.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fight to preserve Oakland culture continues\u003c/h2>\n\u003cp>For Casal and Diggs, coming back to Oakland as visitors makes the city’s changes seem drastic—more so for them than to those who still live in Oakland and see it every day with a degree of numbness. They mention Merritt Bakery—Diggs recently posted a picture on Instagram of the duo in front of the historic eatery with the caption, “Learning to cope with change.”\u003c/p>\n\u003cp>Merritt Bakery was an iconic restaurant that served the Oakland community for over 60 years and shut down due to a fire in 2013. It then moved into the small space that was once occupied by Kwik Way Drive-In, seen in the opening sequence of \u003cem>Blindspotting\u003c/em>. (The movie takes place in a present-day, alternate Oakland, where the shuttered fast-food joint has turned into a hipster eatery.)\u003c/p>\n\u003cp>“New folks are ignoring locals, and locals are growing more and more furious and fed up with people coming in,” Casal says. “There’s tension, going into bars, going into certain restaurants—you can feel the anger on people, even when they are not vocal about it. Who are these people who’ve come in and thrown off the ecosystem, and are pushing us all out?”\u003c/p>\n\u003cp>In the film, Miles is vocal about his discontent with the changes around The Town. He has to eat a vegan burger at the newly reopened Kwik Way. He finds a fridge full of $10 green juices at his local liquor store. He gets upset at a newcomer whose car blocks Miles and Collin into a parking space with the moving truck. He laments how Oakland police officers are not from and don’t live in Oakland. (\u003ca href=\"https://www.eastbayexpress.com/oakland/black-and-female-recruits-missing-from-latest-oakland-police-academy/Content?oid=15456858\" target=\"_blank\" rel=\"noopener noreferrer\">Forty percent\u003c/a> of Oakland Police Department cops are white and nine out of 10 officers live outside of Oakland, with many in primarily white suburbs miles away.)\u003c/p>\n\u003cp>The situations that Miles and Collin experience throughout the film are vivid, all-too-true reminders of what Oaklanders see in their daily lives. For Casal and Diggs, gentrification enters conversations whenever they’re in Oakland hanging out with friends, as was the case when they visited recently to promote the film. “We were talking about where to go, and people were like, ‘This spot is still cool on this day of the week, we should go there.’ Or, ‘Nah, let’s not go there.’ We know what ‘nah’ means,” Casal says. “It means new people.”\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastic Negrito, who is featured on the \u003cem>Blindspotting\u003c/em> soundtrack, often talks about building a bridge between the old, pre-gentrification Oakland and the new Oakland taken over by the wealthy. Is it possible to build such a bridge? “I think it’s possible, and actually, I think new people would prefer that,” Diggs says. “I don’t know how—a lot is legislative control over the market, of how you are allowed to charge folks to live here. There are people who can’t compete with folks coming in from somewhere else.”\u003c/p>\n\u003cp>Casal is less optimistic. “It’s not gonna happen,” he says.\u003c/p>\n\u003cp>Diggs says he feels like a gentrifier himself whenever he moves somewhere new. When he moved to New York, he chose to live in Washington Heights, a quickly changing neighborhood in Manhattan. “It’s a beautiful neighborhood with so many great things,” Diggs says. “There are two ways that you can move into that neighborhood. You can move there and check off the boxes: close to the subway, checked; a Starbucks on the corner, OK, checked; I have all the things I need to feel comfortable, and not have to change anything about myself. Or, you can move in there excited to participate and learn about a culture that you know nothing about. You can approach it by being a productive partner in this community—that’s a good way to move in to a place.”\u003c/p>\n\u003cp>The film’s themes of gentrification will likely resonate with audiences across the country. But \u003cem>Blindspotting\u003c/em> also serves as a time capsule of the current, ongoing battle in Oakland.\u003c/p>\n\u003cp>“We need you to tell the story of this place,” Diggs says, calling on native Oaklanders who remain rooted in The Town. “It becomes harder to tear something down when it’s in the national consciousness. They’re never gonna tear down the Washington Monument—they have to keep updating that shit every year because we know it’s there. I want that to be Oakland. I want all those Victorians to be so ingrained in people’s minds, so they wouldn’t dare tear them down. I want the barbecue around the lake to continue to get bigger as protest, as a reclaiming of space. I want all that.”\u003c/p>\n\u003cp>“The more you tell the story, the more people will recognize that they are building on top of something that already exists,” Diggs continues. “This isn’t a clean slate, you don’t get to come in here and [pretend] there are no consequences to your actions.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in theaters July 20.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Oakland natives, the conversation these days is less about what high-rise is going up where: instead, it’s geared towards how these new buildings further fuel gentrification.\u003c/p>\n\u003cp>In 2017, the City of Oakland issued permits for \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=3517396&GUID=4A2D558C-DE95-4282-8480-0998A7498256&Options=ID%7CText%7CAttachments%7COther%7C&Search=housing+element\" target=\"_blank\" rel=\"noopener noreferrer\">4,284 total units\u003c/a>, with only 324 units falling under affordable housing. This ongoing trend has changed The Town’s demographics over the past decade. For those who do not live here anymore—whether they chose to move away or were forced out—coming home is always a shocking sight, far more so than to residents who see the changes daily.\u003c/p>\n\u003cp>Oakland’s gentrification serves as the backdrop in \u003cem>Blindspotting\u003c/em>. Co-written by and starring Oakland natives Rafael Casal and Daveed Diggs, the new film explores the intersection of race, class and police brutality while telling the story of two friends, Miles and Collin, and how they navigate their daily lives. Collin (Diggs) is a convicted felon with three days left on parole, and Miles (Casal) is his hot-headed childhood friend who might jeopardize his freedom. The movie comes out Friday, July 20.\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/-9-HBqVbtTo'\n title='//www.youtube.com/embed/-9-HBqVbtTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this impressive big-screen debut, Casal and Diggs have come a long way since they met at Berkeley High School, later working on music and uploading videos videos to Casal’s \u003ca href=\"https://www.youtube.com/watch?v=j3S-Zs3tvdY\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. Now, they live in Los Angeles, and they’ve made names for themselves outside of the Bay Area. Spoken-word poet Casal appeared on HBO’s \u003cem>Def Poetry\u003c/em>, performed and taught nationwide with YouthSpeaks (which Diggs was also a part of) and is also a two-time Brave New Voices poetry slam champion. Diggs, who raps in the group \u003ca href=\"http://www.clppng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">clipping.\u003c/a>, is best-known for his dual portrayal of Thomas Jefferson and Marquis de Lafayette in the original run of the smash-hit Broadway musical \u003cem>Hamilton\u003c/em> (his portrayal earned him a Tony Award in 2016). But he’s also landed roles in the movie \u003cem>Younger\u003c/em>, ABC’s \u003cem>Black-ish\u003c/em>, and Netflix’s \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair of friends worked on the \u003cem>Blindspotting\u003c/em> movie script over the past 10 years. When they first started, Diggs lived in Fruitvale, a few blocks away from where a BART Police officer gunned down Oscar Grant in 2009. From the script’s inception to now, the national conversation surrounding police brutality escalated and then fizzled out, as more and more cases became passing hashtags and officers were acquitted or not charged at all.\u003c/p>\n\u003cp>“That’s the biggest difference between the first draft of the script and where we ended up,” Diggs says. “We were trying to match the nature of the national conversation about these kinds of killings. When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg\" alt=\"Diggs and Casal play best friends who work together as movers. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diggs and Casal play best friends who work together as movers. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> is, simply put, a love letter to Oakland. A more complex way to describe it would be as a raw, poetic and timely film that accurately depicts the trials and tribulations that people of color go through in order to survive and provide for their families—especially those convicted of a crime, who served their time and are trying to rebuild their lives within a system that wants them to fail.\u003c/p>\n\u003cp>For Oaklanders, the film will feel familiar: many of the scenes take place in recognizable locations; the hella Town Biz soundtrack includes Fantastic Negrito, Mistah F.A.B and E-40; some notable locals make cameos. And then, sadly, there’s the sight of the countless homeless encampments we see on our daily commutes. The cinematography is as beautiful as it is daunting. Moviegoers get to see the gentrified parts of Oakland that newcomers are attracted to, as well as the displacement—a blind spot for some recent transplants.\u003c/p>\n\u003ch2>Contending with The Town’s changing landscape\u003c/h2>\n\u003cp>The \u003cem>Blindspotting \u003c/em>narrative stems from a life-altering moment. Collin happens to witness a police shooting that results in the death of a black man named Randall Marshall. The film follows Collin as he navigates his final days on parole while dealing with the post-traumatic effects of witnessing the shooting—not to mention Miles’ short fuse.\u003c/p>\n\u003cp>A powerful scene shows Collin on his daily run through the Mountain View Cemetery the day after witnessing the police killing. Still disturbed from the incident, Collin begins to hallucinate and sees black men, dressed in black, standing in front of each grave he runs past. Once he reaches the the top of the hill, the last face he sees is that of a bloody Marshall.\u003c/p>\n\u003cp>“It’s Collin finally seeing where he is, and seeing himself in it,” Casal says. “The whole film, he’s realizing how similar he is to the person he saw that died, and how inevitable it feels. I think that inevitability is the PTSD. It’s the torture that it feels like everything is conspiring towards his death, because to a certain degree, it is. The probation system is hell bent on sending you back to prison. Police are policing and murdering black men at a higher rate.”\u003c/p>\n\u003cfigure id=\"attachment_13837241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg\" alt=\"Collin (Daveed Diggs) and Val (Janina Gavankar) in 'Blindspotting.'\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1200x668.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Collin (Daveed Diggs) and Val (Janina Gavankar) in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> does an exceptional job explaining how gentrification affects people of color who have called Oakland home for generations. Rents have sky-rocketed in recent years. (Finance site Walletwyse released a \u003ca href=\"https://www.walletwyse.com/articles/worldwide-rental-price-index/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> last week determining that Oakland has the fifth highest average rent in the world, tied with Hong Kong.) In the film, Collin and Miles work as movers, and every day as part of their job, they see how gentrification reshapes Oakland’s landscape, both structurally and racially.\u003c/p>\n\u003cp>One day, they clear “junk” out of a house in West Oakland that’s scheduled to be renovated—a house where a black family once resided. While clearing stuff out, Collin comes across a broken picture frame and a photo album; this sentimental moment makes it all the more real that this now-gutted Victorian was recently someone’s home.\u003c/p>\n\u003cp>The next day, the two friends help the owner of an art gallery move out of his space. The owner chit-chats with Collin and Miles about displacement as they pack black-and-white frames showing oak trees superimposed onto images of houses and freeways all around Oakland. “They are chopping us down,” the gallery owner tells Collin and Miles as a reference to displacement—just like oak trees were chopped down to make way for development.\u003c/p>\n\u003cp>This scene is not a far cry from what is happening today in Oakland, with West Oakland’s Alena Museum, a creative space for people of the African diaspora, \u003ca href=\"https://www.eastbaytimes.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">currently facing eviction\u003c/a>.\u003c/p>\n\u003cp>Oak trees are an important element throughout the film. The setting of one of the film’s most climactic clashes between new and old Oakland is a modern, slick house stuck between two older Victorians. The home, Casal points out, was built around a dead oak tree. In one of the scenes, the homeowner proudly shows off his coffee table, an actual oak tree stump.\u003c/p>\n\u003cp>“We wrote this oak tree stump as sort of a punchline of this parallel between the clearing out of oak trees and the clearing out of poor people of color,” Casal says.\u003c/p>\n\u003cp>He and Diggs were shocked to learn that their punchline was, in fact, not far from reality.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fight to preserve Oakland culture continues\u003c/h2>\n\u003cp>For Casal and Diggs, coming back to Oakland as visitors makes the city’s changes seem drastic—more so for them than to those who still live in Oakland and see it every day with a degree of numbness. They mention Merritt Bakery—Diggs recently posted a picture on Instagram of the duo in front of the historic eatery with the caption, “Learning to cope with change.”\u003c/p>\n\u003cp>Merritt Bakery was an iconic restaurant that served the Oakland community for over 60 years and shut down due to a fire in 2013. It then moved into the small space that was once occupied by Kwik Way Drive-In, seen in the opening sequence of \u003cem>Blindspotting\u003c/em>. (The movie takes place in a present-day, alternate Oakland, where the shuttered fast-food joint has turned into a hipster eatery.)\u003c/p>\n\u003cp>“New folks are ignoring locals, and locals are growing more and more furious and fed up with people coming in,” Casal says. “There’s tension, going into bars, going into certain restaurants—you can feel the anger on people, even when they are not vocal about it. Who are these people who’ve come in and thrown off the ecosystem, and are pushing us all out?”\u003c/p>\n\u003cp>In the film, Miles is vocal about his discontent with the changes around The Town. He has to eat a vegan burger at the newly reopened Kwik Way. He finds a fridge full of $10 green juices at his local liquor store. He gets upset at a newcomer whose car blocks Miles and Collin into a parking space with the moving truck. He laments how Oakland police officers are not from and don’t live in Oakland. (\u003ca href=\"https://www.eastbayexpress.com/oakland/black-and-female-recruits-missing-from-latest-oakland-police-academy/Content?oid=15456858\" target=\"_blank\" rel=\"noopener noreferrer\">Forty percent\u003c/a> of Oakland Police Department cops are white and nine out of 10 officers live outside of Oakland, with many in primarily white suburbs miles away.)\u003c/p>\n\u003cp>The situations that Miles and Collin experience throughout the film are vivid, all-too-true reminders of what Oaklanders see in their daily lives. For Casal and Diggs, gentrification enters conversations whenever they’re in Oakland hanging out with friends, as was the case when they visited recently to promote the film. “We were talking about where to go, and people were like, ‘This spot is still cool on this day of the week, we should go there.’ Or, ‘Nah, let’s not go there.’ We know what ‘nah’ means,” Casal says. “It means new people.”\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastic Negrito, who is featured on the \u003cem>Blindspotting\u003c/em> soundtrack, often talks about building a bridge between the old, pre-gentrification Oakland and the new Oakland taken over by the wealthy. Is it possible to build such a bridge? “I think it’s possible, and actually, I think new people would prefer that,” Diggs says. “I don’t know how—a lot is legislative control over the market, of how you are allowed to charge folks to live here. There are people who can’t compete with folks coming in from somewhere else.”\u003c/p>\n\u003cp>Casal is less optimistic. “It’s not gonna happen,” he says.\u003c/p>\n\u003cp>Diggs says he feels like a gentrifier himself whenever he moves somewhere new. When he moved to New York, he chose to live in Washington Heights, a quickly changing neighborhood in Manhattan. “It’s a beautiful neighborhood with so many great things,” Diggs says. “There are two ways that you can move into that neighborhood. You can move there and check off the boxes: close to the subway, checked; a Starbucks on the corner, OK, checked; I have all the things I need to feel comfortable, and not have to change anything about myself. Or, you can move in there excited to participate and learn about a culture that you know nothing about. You can approach it by being a productive partner in this community—that’s a good way to move in to a place.”\u003c/p>\n\u003cp>The film’s themes of gentrification will likely resonate with audiences across the country. But \u003cem>Blindspotting\u003c/em> also serves as a time capsule of the current, ongoing battle in Oakland.\u003c/p>\n\u003cp>“We need you to tell the story of this place,” Diggs says, calling on native Oaklanders who remain rooted in The Town. “It becomes harder to tear something down when it’s in the national consciousness. They’re never gonna tear down the Washington Monument—they have to keep updating that shit every year because we know it’s there. I want that to be Oakland. I want all those Victorians to be so ingrained in people’s minds, so they wouldn’t dare tear them down. I want the barbecue around the lake to continue to get bigger as protest, as a reclaiming of space. I want all that.”\u003c/p>\n\u003cp>“The more you tell the story, the more people will recognize that they are building on top of something that already exists,” Diggs continues. “This isn’t a clean slate, you don’t get to come in here and [pretend] there are no consequences to your actions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp class=\"p1\">You can’t fight for justice, equity and freedom on an empty stomach. The co-founders of \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">People’s Kitchen Collective\u003c/span>\u003c/a> (PKC), Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval, believe in the power of conversation and community over shared meals—and the necessity of bridging racial, religious and generational divides to build solidarity.\u003c/p>\n\u003cp class=\"p1\">Over the course of a year, PKC organized a four-meal series called “From the FARM, to the KITCHEN, to the TABLE, to the STREETS,” nourishing people with courses sourced from their own family recipes, community members and historical references. As PKC says, “In our kitchen, food has flavor.”\u003c/p>\n\u003cp class=\"p1\">“TABLE” brought together communities affected by xenophobic immigration policies, including Flora Ninomiya, a survivor of the internment camps of Japanese Americans established under Executive Order 9066, and Misha Abbas, a Muslim textile artist from Pakistan.\u003c/p>\n\u003cp class=\"p1\">“The Muslim travel ban and the idea that we don’t belong here, that’s how the Japanese were seen,” says Abbas, who created and naturally died furoshiki, traditional Japanese wrapping cloths, using flowers from Ninomiya’s land. “We’re part of the same struggle.”\u003c/p>\n\u003cp class=\"p1\">For the culminating meal, PKC fed 500 guests, with dishes inspired by the Black Panthers’ Free Breakfast Program—at a single long table that spanned an entire West Oakland city block.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp class=\"p1\">“We’re Black and brown people at a table together in a Black and brown neighborhood, claiming space, and that’s political,” says Keval. This is especially true in West Oakland, where rapid gentrification is pushing longtime residents and artists out of the neighborhood. One need only a look at the Alena Museum, the community arts space out of which PKC has operated the last two years, and \u003ca href=\"https://www.mercurynews.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">its likely displacement\u003c/span>\u003c/a>, as an example of looming cultural erasure in the neighborhood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">PKC’s mission to “nourish the revolution” is both radical and completely in earnest. “At every meal,” Keval says, “we want you to be moved, moved out into a place where you’re publicly advocating for the issues that matter.” — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp class=\"p1\">You can’t fight for justice, equity and freedom on an empty stomach. The co-founders of \u003ca href=\"http://peopleskitchencollective.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">People’s Kitchen Collective\u003c/span>\u003c/a> (PKC), Sita Kuratomi Bhaumik, Jocelyn Jackson and Saqib Keval, believe in the power of conversation and community over shared meals—and the necessity of bridging racial, religious and generational divides to build solidarity.\u003c/p>\n\u003cp class=\"p1\">Over the course of a year, PKC organized a four-meal series called “From the FARM, to the KITCHEN, to the TABLE, to the STREETS,” nourishing people with courses sourced from their own family recipes, community members and historical references. As PKC says, “In our kitchen, food has flavor.”\u003c/p>\n\u003cp class=\"p1\">“TABLE” brought together communities affected by xenophobic immigration policies, including Flora Ninomiya, a survivor of the internment camps of Japanese Americans established under Executive Order 9066, and Misha Abbas, a Muslim textile artist from Pakistan.\u003c/p>\n\u003cp class=\"p1\">“The Muslim travel ban and the idea that we don’t belong here, that’s how the Japanese were seen,” says Abbas, who created and naturally died furoshiki, traditional Japanese wrapping cloths, using flowers from Ninomiya’s land. “We’re part of the same struggle.”\u003c/p>\n\u003cp class=\"p1\">For the culminating meal, PKC fed 500 guests, with dishes inspired by the Black Panthers’ Free Breakfast Program—at a single long table that spanned an entire West Oakland city block.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp class=\"p1\">“We’re Black and brown people at a table together in a Black and brown neighborhood, claiming space, and that’s political,” says Keval. This is especially true in West Oakland, where rapid gentrification is pushing longtime residents and artists out of the neighborhood. One need only a look at the Alena Museum, the community arts space out of which PKC has operated the last two years, and \u003ca href=\"https://www.mercurynews.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan class=\"s1\">its likely displacement\u003c/span>\u003c/a>, as an example of looming cultural erasure in the neighborhood.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp class=\"p1\">PKC’s mission to “nourish the revolution” is both radical and completely in earnest. “At every meal,” Keval says, “we want you to be moved, moved out into a place where you’re publicly advocating for the issues that matter.” — \u003cem>Text by Sarah Hotchkiss\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This summer, the Oakland Department of Transportation (OakDOT) is bringing neighborhoods together to beautify their streets as part of a new program called “\u003ca href=\"https://www.oaklandca.gov/services/dot/paint-the-town\" rel=\"noopener\" target=\"_blank\">Paint The Town\u003c/a>.”\u003c/p>\n\u003cp>The program, which began in May of this year, supplies permission and resources to artists who want to paint temporary murals on Oakland streets. The OakDOT started Paint the Town with the intention of giving local residents a sense of ownership in their neighborhoods, especially in under-resourced areas. \u003c/p>\n\u003cp>“Paint the Town is the first step in re-imagining what our streets are and what they can be,” OakDOT transportation planner Lily Brown said. \u003c/p>\n\u003cfigure id=\"attachment_13836047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-800x450.jpg\" alt=\"Overhead shot of a new mural in Oakland, at Herman and Ayala Streets.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Overhead shot of a new mural in Oakland, at Herman and Ayala Streets. \u003ccite>(Courtesy of Oakland DOT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paint The Town came about from the results of the city’s 2017 \u003ca href=\"https://medium.com/@Oakland/transforming-oaklands-streets-into-public-space-b6ecb3fe7304\" rel=\"noopener\" target=\"_blank\">Request for Community Interest\u003c/a> survey. The 130 respondents said they wanted the city to use its resources to turn streets and crosswalks into works of art. \u003c/p>\n\u003cp>“Transforming a busy street doesn’t always need complicated plans or millions of dollars. There is real potential for Oaklanders to create playful and artistic public spaces,” the OakDOT report stated. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After a call for submissions last winter, the city approved 30 mural applications. Each winner receives a $300 gift card for paint, plus liability insurance for the street closure. For seven winners, the Oakland Fund for Public Innovation pays for all materials and even assists with day-of logistics. \u003c/p>\n\u003cp>Of the 42 applications it received, the city focused on approving applications for projects in disadvantaged areas. For every one mural approved in a census tract with a low level of disadvantage, the city wanted two in high-to-medium disadvantaged areas. In the end, the city surpassed its intended 2-to-1 ratio, approving 27 projects in high-to-medium neighborhoods and three in areas of low disadvantage.\u003c/p>\n\u003cp>“We exceeded the goal for advancing equity in this program,” Brown said. \u003c/p>\n\u003cfigure id=\"attachment_13836668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-800x450.jpg\" alt=\"Students help paint a mural near the ASCEND School in Oakland.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students help paint a mural near the ASCEND School in Oakland. \u003ccite>(Courtesy of OakDOT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paint The Town is currently in its pilot phase, but Brown says it’s proven to be quite successful. Local groups have painted \u003ca href=\"https://hoodline.com/2018/06/street-art-deal-oakland-dot-rolls-out-beautification-program\" rel=\"noopener\" target=\"_blank\">four murals since May\u003c/a>—the most recent a giant hummingbird on 25th Street, between Telegraph and Northgate Avenues.\u003c/p>\n\u003cp>Brown says the mural events are much like block parties, with the bonus of providing “an activity where people have to work together to accomplish something.” She attended the first mural painting at Dashwood and Arthur in East Oakland, and said that the event was a joyous occasion where participants and visitors alike expressed pride in the resulting art work. “Some people even got out of their cars to take pictures,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s the best part about Paint The Town: it’s something that seems really simple and relatively cheap but it has this huge, positive ripple effect,” Brown added. “A street doesn’t just have to be gray asphalt that cars are speeding through; it can be a canvas for people to showcase their neighborhood pride and their uniqueness. They can help foster a sense of ownership.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This summer, the Oakland Department of Transportation (OakDOT) is bringing neighborhoods together to beautify their streets as part of a new program called “\u003ca href=\"https://www.oaklandca.gov/services/dot/paint-the-town\" rel=\"noopener\" target=\"_blank\">Paint The Town\u003c/a>.”\u003c/p>\n\u003cp>The program, which began in May of this year, supplies permission and resources to artists who want to paint temporary murals on Oakland streets. The OakDOT started Paint the Town with the intention of giving local residents a sense of ownership in their neighborhoods, especially in under-resourced areas. \u003c/p>\n\u003cp>“Paint the Town is the first step in re-imagining what our streets are and what they can be,” OakDOT transportation planner Lily Brown said. \u003c/p>\n\u003cfigure id=\"attachment_13836047\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-800x450.jpg\" alt=\"Overhead shot of a new mural in Oakland, at Herman and Ayala Streets.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836047\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Oakland-Mural-PTT-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Overhead shot of a new mural in Oakland, at Herman and Ayala Streets. \u003ccite>(Courtesy of Oakland DOT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paint The Town came about from the results of the city’s 2017 \u003ca href=\"https://medium.com/@Oakland/transforming-oaklands-streets-into-public-space-b6ecb3fe7304\" rel=\"noopener\" target=\"_blank\">Request for Community Interest\u003c/a> survey. The 130 respondents said they wanted the city to use its resources to turn streets and crosswalks into works of art. \u003c/p>\n\u003cp>“Transforming a busy street doesn’t always need complicated plans or millions of dollars. There is real potential for Oaklanders to create playful and artistic public spaces,” the OakDOT report stated. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After a call for submissions last winter, the city approved 30 mural applications. Each winner receives a $300 gift card for paint, plus liability insurance for the street closure. For seven winners, the Oakland Fund for Public Innovation pays for all materials and even assists with day-of logistics. \u003c/p>\n\u003cp>Of the 42 applications it received, the city focused on approving applications for projects in disadvantaged areas. For every one mural approved in a census tract with a low level of disadvantage, the city wanted two in high-to-medium disadvantaged areas. In the end, the city surpassed its intended 2-to-1 ratio, approving 27 projects in high-to-medium neighborhoods and three in areas of low disadvantage.\u003c/p>\n\u003cp>“We exceeded the goal for advancing equity in this program,” Brown said. \u003c/p>\n\u003cfigure id=\"attachment_13836668\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-800x450.jpg\" alt=\"Students help paint a mural near the ASCEND School in Oakland.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13836668\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/PTS-ASCEND258-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students help paint a mural near the ASCEND School in Oakland. \u003ccite>(Courtesy of OakDOT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Paint The Town is currently in its pilot phase, but Brown says it’s proven to be quite successful. Local groups have painted \u003ca href=\"https://hoodline.com/2018/06/street-art-deal-oakland-dot-rolls-out-beautification-program\" rel=\"noopener\" target=\"_blank\">four murals since May\u003c/a>—the most recent a giant hummingbird on 25th Street, between Telegraph and Northgate Avenues.\u003c/p>\n\u003cp>Brown says the mural events are much like block parties, with the bonus of providing “an activity where people have to work together to accomplish something.” She attended the first mural painting at Dashwood and Arthur in East Oakland, and said that the event was a joyous occasion where participants and visitors alike expressed pride in the resulting art work. “Some people even got out of their cars to take pictures,” she said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“That’s the best part about Paint The Town: it’s something that seems really simple and relatively cheap but it has this huge, positive ripple effect,” Brown added. “A street doesn’t just have to be gray asphalt that cars are speeding through; it can be a canvas for people to showcase their neighborhood pride and their uniqueness. They can help foster a sense of ownership.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"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.",
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"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>",
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"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?",
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"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",
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"politicalbreakdown": {
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"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.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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