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"content": "\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\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>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n",
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"title": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True | KQED",
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"headline": "In 'Sorry To Bother You,' an Alternate-Universe Oakland Rings True",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you feel your cheeks burning with familiarity as you watch Boots Riley’s directorial debut \u003cem>Sorry To Bother You\u003c/em>, you’re not alone—especially if you’re from Oakland. Whether it’s the film’s reference to The Rusty Skupper, where Oakland party promoter Geoffrey Pete once threw parties, or the iconic Cathedral Building at Telegraph and Broadway, or downtown dive bar The Layover, I caught about 20 hot flashes as a veritable déjà-vu checklist unfolded on the screen. Telemarketing job with ex-punk middle management? Check. Boyfriend that lived in a garage? Check. Paying for gas for your not-even-close-to-legal rustbucket car with pocket change? You know it.\u003c/p>\n\u003cp>Set in an alternate-universe Oakland, \u003cem>Sorry To Bother You\u003c/em> follows Cassius Green, played by \u003cem>Atlanta\u003c/em>’s Lakeith Stanfield, as he makes one Faustian moral compromise after another in pursuit of paying the bills. Cassius’ downward spiral begins with a coworker (Danny Glover) advising him to “use your white voice” (a tone reminiscent of a children’s show puppet, dubbed by real-life white guy David Cross) in order to climb the ladder at his telemarketing job (set in the Kaiser building in downtown Oakland). It then winds its way through a dark corporate netherworld of slimy despair. The “don’t sell out” moral of the story is delivered with all of the subtlety of a circus clown with an erection, but appropriately so—there’s nothing subtle in being a person of color fighting to survive capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13836461\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836461\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-800x533.jpg\" alt=\"Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of 'Sorry to Bother You' with members of the Scraper Bike team in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Scraper-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson, Lakeith Stanfield, Boots Riley and Jermaine Fowler from the cast of ‘Sorry to Bother You’ with members of the Scraper Bike team in Oakland. \u003ccite>(Pete Lee / Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Could there be parallels between Cassius’ rise from telemarketing pit worker to “power caller” and Riley’s path from hometown activist musician to widely lauded Hollywood director? Riley may not be as accessible as he once was as he undertakes a grueling promotional tour for the film, but even a brief conversation puts any fears of moral compromise to rest.\u003c/p>\n\u003cp>When I ask Riley a question about his movie, it turns into a lengthy history on the necessity of rent control. In other words, this is still the same Boots Riley that most people know from his 25 years fronting radical East Bay hip-hop group The Coup. And it’s Riley’s intimacy with the Oakland that a lot of us know—full of artists and activists, diverse, and currently under siege by corporate interests—that lends an undercurrent of believability to the kaleidoscopic version of The Town presented in \u003cem>Sorry To Bother You\u003c/em>. Degrading jobs, homelessness, corporate greed, and police brutality are viewed through a cartoon lens that’s equal parts hilarious and horrifying. It’s a balancing act that could easily take a wrong turn in the hands of an outsider with a two-dimensional view of Oakland, but in Riley’s hands, there’s a lot of truth in the bright and absurd universe that he’s constructed.\u003c/p>\n\u003cfigure id=\"attachment_13836464\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836464\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-800x533.jpg\" alt=\"Tessa Thompson and Lakeith Stanfield in 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaLakei-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson and Lakeith Stanfield in ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley will be the first to tell you he didn’t construct it alone. True to his Communist roots, \u003cem>Sorry To Bother You\u003c/em> was a collective effort. In addition to phenomenal production designer Jason Kisvarday (\u003cem>Swiss Army Man\u003c/em>) and costume designer Deirdra Govan, a host of local talent contributed to the color and animated details that make the film as fun to watch as an R-rated version of \u003cem>Pee Wee’s Playhouse\u003c/em>. The graphic lettering that appears throughout the film was designed by local children’s book illustrator J. Otto Seibold. You might be able to spot a few of your friends and neighbors in the protest scene on Franklin Street alongside an “Adult Content” sculpture created by conceptual artist Spy Emerson. Rapper and philanthropist Mistah F.A.B. has a memorable cameo. (As for institutional support, Riley got assistance from SFFILM, the Rainin Foundation, and McSweeney’s, which originally published the script in 2014, among others.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Local music fans might also notice a humorous mention in the film of journalist Eric Arnold, who distinguished himself by writing about Oakland hip-hop in publications like \u003cem>4080\u003c/em>, \u003cem>The Source\u003c/em>, \u003cem>Wax Poetics\u003c/em>, \u003cem>Complex\u003c/em>, and the \u003cem>East Bay Express\u003c/em>.\u003c/p>\n\u003cp>“That Eric Arnold thing,” Riley explains, “that was one of those things where you’re writing and you’re like ‘What’s this character’s name?’ and you put it down thinking you’ll change it later to something that sounds cool. And then I just realized as it was being said, ‘Oh, I never changed that one.’ I had to call him up and be like ‘Your name is in the movie.’”\u003c/p>\n\u003cp>The fashion in the film? Oakland again. Tessa Thompson’s character Detroit is a radical artist with a strong moral compass and an enviable wardrobe, which Thompson and costume designer Govan designed by driving through Oakland and observing women around town. Detroit wears oversized J. Otto Seibold-designed text earrings that read “You’re Gonna Have To Fight/Your Own Damn War” (shoutout to Prince), a bikini made from latex gloves, a hairstyle directly inspired by a friend of Riley’s named Messiah, and a shirt that reads “The Future is Female Ejaculation.”\u003c/p>\n\u003cfigure id=\"attachment_13836462\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836462\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg\" alt=\"Tessa Thompson in 'Sorry to Bother You,' with earrings designed by J. Otto Seibold.\" width=\"800\" height=\"335\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-800x335.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1020x427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1200x503.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-1180x494.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-960x402.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.Tessa_-520x218.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson in ‘Sorry to Bother You,’ with earrings designed by J. Otto Seibold. \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Sorry To Bother You\u003c/em> isn’t the first black science fiction film set in Oakland. The other well-known two, Sun Ra’s \u003cem>Space is the Place\u003c/em> and Ryan Coogler’s \u003cem>Black Panther\u003c/em>, are decidedly afrofuturist, whereas \u003cem>Sorry To Bother You\u003c/em> feels like it exists outside that amorphous genre. Maybe because, in spite of its magical realism, it’s tethered to so much reality.\u003c/p>\n\u003cp>“My beef with a lot of sci-fi is that going so far in the future, or going into space, or going into another dimension makes it so safe that nobody cares what you’re saying,” Riley tells me. “You can make something that’s threatening revolution, but if it’s happening in space or it’s happening in the Chicago of 200 years from now, no one will really care. No one will find it threatening.”\u003c/p>\n\u003cp>Indeed, even the fantasy elements of \u003cem>Sorry To Bother You\u003c/em> seem plausible. The employee living quarters of the Worry Free corporation – bunk-bed barracks reminiscent of an Ikea-sponsored orphanage – would scarcely raise an eyebrow if you came across it during a Craigslist housing search in the Bay Area nowadays. But it wasn’t so long ago though that a greedy landlord charging $2,000 to live in a sheet fort off Fruitvale would have fueled dozens of outraged Facebook posts.\u003c/p>\n\u003cfigure id=\"attachment_13836463\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836463\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg\" alt=\"Tessa Thompson on the set of 'Sorry to Bother You.'\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/SorryToBotherYou.TessaBike-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson on the set of ‘Sorry to Bother You.’ \u003ccite>(Courtesy Annapurna Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Given this steep decline in expectations of decency, coupled with the rapid advancements in technology that have occurred since the original script was drafted in 2012, I wondered if there had been anything Riley had to remove because it had proven prophetic.\u003c/p>\n\u003cp>“There were things that I had to change because they got too normal. Omari [Hardwick]’s character had a line, and this is in the script that ended up being published in 2014, where he says ‘Worry Free is going to make America great again’… So I had to take that out,” Riley tells me. “There’s the whole soda commercial in it, which is very much like the Kylie Jenner Pepsi commercial. All of the homeless camps—that’s in the script. They didn’t exist then. Not to the scale that it is now.”\u003c/p>\n\u003cp>Although it contains much that will be relatable, particularly for Bay Area audiences, \u003cem>Sorry To Bother You\u003c/em> is also, well, insane. As Cassius begins the upward climb that triggers his downward spiral, recovery wisdom dictates that he will eventually hit the proverbial rock bottom. But the moment never seems to come. \u003cem>“This must be it… Oh damn! Ok, THIS must be it. Nope…”\u003c/em> The film reaches a \u003cem>Caligula\u003c/em> level of batshittery that comes out of the blue, trust me.\u003c/p>\n\u003cp>And despite \u003cem>Sorry To Bother You\u003c/em>’s wild and subversive nature, don’t make the same misstep I made and call it a cult film. Not to Riley, anyway. He predicts that it’s exactly the type of movie a growing segment of the mainstream is craving; the same audience that made Jordan Peele’s horror film \u003cem>Get Out\u003c/em> such a huge success.\u003c/p>\n\u003cp>Peele came from comedy, and Riley came from hip-hop. But Riley also comes from Oakland, and that’s what gives \u003cem>Sorry to Bother You\u003c/em> its magic. When a creative and ambitious 47-year-old anarchist rapper Trojan-horses his way into Hollywood, the result is something new, a thrilling type of chaos bulging at the seams and somehow still fitting into the regimented structure of filmmaking. A man who went from “\u003ca href=\"http://www.metrolyrics.com/sneakin-in-lyrics-the-coup.html\" target=\"_blank\" rel=\"noopener\">sneakin’ in to Eastmont Cinemas\u003c/a>” to making a widely distributed and star-studded revolutionary film? That might be the most magical element of all.\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>‘Sorry to Bother You’ is released in theaters Friday, July 6.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Power of Taking Up Space: Marshawn Lynch's Oakland Rideout",
"headTitle": "The Power of Taking Up Space: Marshawn Lynch’s Oakland Rideout | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> wasn’t sure what to expect when I rode up on my 21-speed to the Beastmode store in downtown Oakland, my daughter sitting comfy in the child seat attached to the back of my bike. Even though it was past her nap time, I figured we’d just see what all the commotion was about.\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>At first, I only saw 25-35 other people on bikes gathered on Broadway in front of the store, awaiting the start of Oakland Rideout 2, the second city-wide ride hosted by NFL players Marshawn Lynch and Josh Johnson. But then I pushed past the first cadre of cyclists, peeked around the corner at 10th Street toward Washington Street, and boom: a massive fleet of cyclists and scooter riders. \u003cem>Hundreds\u003c/em> of them. All waiting on the start of the ride.\u003c/p>\n\u003cp>Oakland Rideout is just that: a bike ride. It’s not a protest, or a demonstration. But in a year when people of color have had the police called on them for \u003ca href=\"https://www.youtube.com/watch?v=Fh9D_PUe7QI\" target=\"_blank\" rel=\"noopener noreferrer\">BBQing\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11676866/permit-patty-goes-viral-after-threatening-to-call-cops-on-girl-selling-water-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">selling water\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/06/26/us/oakland-black-firefighter-bias.html\" target=\"_blank\" rel=\"noopener noreferrer\">being a firefighter\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/05/08/us/airbnb-black-women-police.html\" target=\"_blank\" rel=\"noopener noreferrer\">checking out of an Airbnb\u003c/a>, \u003ca href=\"https://www.motherjones.com/crime-justice/2018/05/11-more-things-you-cannot-do-while-black-starbucks-nordstrom-rack-1/\" target=\"_blank\" rel=\"noopener noreferrer\">sleeping in their own dorm\u003c/a>—the \u003ca href=\"https://www.washingtonpost.com/national/living-while-black-viral-videos-raise-concerns-about-everyday-racial-profiling/2018/05/29/d4bd630a-5b74-11e8-8836-a4a123c359ab_story.html?noredirect=on&utm_term=.1346554b7279\" target=\"_blank\" rel=\"noopener noreferrer\">list goes on\u003c/a>—simply \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">taking up space and celebrating together\u003c/a> is an act of liberation in itself.\u003c/p>\n\u003cp>And yeah, there were big names involved. Along with Marshawn Lynch, the ride involved a handful of pro BMX riders, SE Bikes, and even a business sponsor (Lime, which manages those green bikes around town).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But really, the ride was about the young people.\u003c/p>\n\u003cfigure id=\"attachment_13836228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 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\">W\u003c/span>hile waiting for the ride to start, one young brother rode in my direction, standing with one foot on his seat and the other on his handlebars, as he “surfed” his bike past the “For Lease” sign at the base of a newly constructed building full of overpriced apartments.\u003c/p>\n\u003cp>Moments later, NFL star Marshawn Lynch, Beastmode himself, pulled up and hopped out of the passenger seat of what looked to be a late-’90s–early-2000s four-door Honda Civic; “an under bucket” would probably be the best local colloquialism I’d use to describe the vehicle. A crowd of teenagers flocked around him as he and his cousin, NFL Quarterback Josh Johnson, prepared to ride out.\u003c/p>\n\u003cp>A couple minutes after noon, the platoon took to the streets; I fell inline. First commandeering Broadway, headed north to 11th street, where we made a right and headed east. We went through the tunnel by the museum and around the southern fringe of Lake Merritt, before banging a right on \u003ca href=\"https://www.sfgate.com/bayarea/article/Oakland-Renames-East-14th-Street-It-ll-be-2983004.php\" target=\"_blank\" rel=\"noopener noreferrer\">East 14th Street\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13836226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836226\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first neighborhood we hit is commonly referred to as Funktown. There, Asian storeowners and residents stood curbside, cameras in hand as they recorded the stream of what had easily grown to over 1,000 cyclists.\u003c/p>\n\u003cp>All shades of black, brown and white people were in motion through East Oakland—mostly boys and men, but plenty of women scattered in the pack too. All ages, too: I saw some artists who are OGs in the graffiti world, and cheered on the push of an elementary-aged kid as he rode a bike that looked like its training wheels had just been taken off.\u003c/p>\n\u003cp>All the while, my daughter was comfy in her seat, waving at people; she didn’t appear to be thinking about that nap, and probably wouldn’t have been able to sleep through the music anyway. There were people with Bluetooth speakers, a couple folks with three-wheel bikes allowing them to carry larger speakers, and even one guy who had a studio monitor-sized speaker strapped to his back.\u003c/p>\n\u003cfigure id=\"attachment_13836227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These mobile sound systems blasted well-known hits from local artists, folks like Mac Dre, Kamaiyah and ALLBLACK, and the people on the streets couldn’t help but watch in amazement. The young black sister on the corner with the short skirt and tall heels who smiled as we passed. The older Latino brother in the 10-gallon hat who waved as he stepped outside of the Iglesia. The little Filipino kids on their apartment stairs who pointed in awe as the fleet flew by.\u003c/p>\n\u003cp>This procession might sound chaotic, but it wasn’t. The professional BMX riders and others working the event paused at each intersection to make sure traffic didn’t cross our path. They were also vocal toward the cyclists, demanding we all stay to the right, so as to not block oncoming traffic.\u003c/p>\n\u003cp>We dodged potholes and kept pedaling as we came around the corner near Rainbow Recreational Center, where the scene was parade-like. People stood on their porches cheering for us and asking us where we were going. We traveled up Seminary, in the direction of where a man had been killed on the Friday night prior to the ride, but turned a left on Foothill before reaching the crime scene. Some people cut through the parking lot of the newly constructed Seminary Point shopping center, hitting wheelies and doing bunny hops over the curbs.\u003c/p>\n\u003cfigure id=\"attachment_13836223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We biked through the smell of weed being smoked and BBQ grills getting lit. We passed the Muslim Brothers in suits in front of the mosque, past Fremont High, then past the Mac Dre mural and the “We Buy Ugly Homes” advertisement. People in cars stuck their arms out the window for high-fives.\u003c/p>\n\u003cp>We eventually ended up at San Antonio Park for our first real rest. It was enough time for my daughter to have a snack, run through the grass and play on the swings. (Nap? What nap?) An impromptu bike sideshow started in the middle of the street, as someone on a dirt bike swang donuts and people gathered around to watch; Marshawn and Josh included.\u003c/p>\n\u003cp>After the smokers got their tokes and the sippers wet their lips, people were back on the road: Lake Merritt bound.\u003c/p>\n\u003cfigure id=\"attachment_13836225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we descended on the Lakeshore side of Lake Merritt, I thought about all that’s transpired in that area over the past few weeks: the stories of “BBQ Becky” and “Jogger Joe,” and how those cases were largely about power, privilege and policing the lives of people of color. Even the story from a day prior to the bike ride, across the Bay, where a white woman called the police on a little black girl for selling water—the “Permit Patty” incident.\u003c/p>\n\u003cp>Whether it’s the selling of water, sleeping in a makeshift dwelling or preparing food with family, these stories are about people of color simply existing, and people with perceived power policing their existence.\u003c/p>\n\u003cfigure id=\"attachment_13836224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13836224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-801x1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-960x1438.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs.jpg 1282w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on Sunday afternoon, the bikers weren’t having that. They were existing to the fullest; living their best life, as the kids say.\u003c/p>\n\u003cp>I saw the late June sun bounce off of so many gold grills that day.\u003c/p>\n\u003cp>I mean, I also saw a half-dozen minor bike accidents; people falling after trying to stunt on wheelies or ride with no hands. One young man on a double-decker scraper bike without brakes rear-ended someone else. But I didn’t see any injuries, nor any major conflicts between bikers or drivers. Everyone who fell got back up and kept riding.\u003c/p>\n\u003cp>And even that aspect of the ride is important. These kids were free to make mistakes, which all too often isn’t the case for young people of color in America. Mistakes? Hell, for some, simply existing is its own consequence.\u003c/p>\n\u003cfigure id=\"attachment_13836230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And no, Marshawn and Josh, the sponsors and the BMX riders—they weren’t organizing a protest. They weren’t politicizing the people of Oakland. They were just giving folks a chance to get out, exist in public, and claim their space. That’s worth a lot these days.\u003c/p>\n\u003cp>As the seemingly never-ending trail of bikes wrapped around the northern portion of Lake Merritt, flowing from Lakeshore to Grand, eventually back downtown and then toward Marshawn and Josh’s alma mater, Oakland Tech, my daughter and I spun off. It was well past her nap time, and almost time for mine.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At Beastmode's community bike ride, I witnessed Oakland living its best life in the streets.",
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"title": "The Power of Taking Up Space: Marshawn Lynch's Oakland Rideout | 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\">I\u003c/span> wasn’t sure what to expect when I rode up on my 21-speed to the Beastmode store in downtown Oakland, my daughter sitting comfy in the child seat attached to the back of my bike. Even though it was past her nap time, I figured we’d just see what all the commotion was about.\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>At first, I only saw 25-35 other people on bikes gathered on Broadway in front of the store, awaiting the start of Oakland Rideout 2, the second city-wide ride hosted by NFL players Marshawn Lynch and Josh Johnson. But then I pushed past the first cadre of cyclists, peeked around the corner at 10th Street toward Washington Street, and boom: a massive fleet of cyclists and scooter riders. \u003cem>Hundreds\u003c/em> of them. All waiting on the start of the ride.\u003c/p>\n\u003cp>Oakland Rideout is just that: a bike ride. It’s not a protest, or a demonstration. But in a year when people of color have had the police called on them for \u003ca href=\"https://www.youtube.com/watch?v=Fh9D_PUe7QI\" target=\"_blank\" rel=\"noopener noreferrer\">BBQing\u003c/a>, \u003ca href=\"https://www.kqed.org/news/11676866/permit-patty-goes-viral-after-threatening-to-call-cops-on-girl-selling-water-in-san-francisco\" target=\"_blank\" rel=\"noopener noreferrer\">selling water\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/06/26/us/oakland-black-firefighter-bias.html\" target=\"_blank\" rel=\"noopener noreferrer\">being a firefighter\u003c/a>, \u003ca href=\"https://www.nytimes.com/2018/05/08/us/airbnb-black-women-police.html\" target=\"_blank\" rel=\"noopener noreferrer\">checking out of an Airbnb\u003c/a>, \u003ca href=\"https://www.motherjones.com/crime-justice/2018/05/11-more-things-you-cannot-do-while-black-starbucks-nordstrom-rack-1/\" target=\"_blank\" rel=\"noopener noreferrer\">sleeping in their own dorm\u003c/a>—the \u003ca href=\"https://www.washingtonpost.com/national/living-while-black-viral-videos-raise-concerns-about-everyday-racial-profiling/2018/05/29/d4bd630a-5b74-11e8-8836-a4a123c359ab_story.html?noredirect=on&utm_term=.1346554b7279\" target=\"_blank\" rel=\"noopener noreferrer\">list goes on\u003c/a>—simply \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" target=\"_blank\" rel=\"noopener noreferrer\">taking up space and celebrating together\u003c/a> is an act of liberation in itself.\u003c/p>\n\u003cp>And yeah, there were big names involved. Along with Marshawn Lynch, the ride involved a handful of pro BMX riders, SE Bikes, and even a business sponsor (Lime, which manages those green bikes around town).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But really, the ride was about the young people.\u003c/p>\n\u003cfigure id=\"attachment_13836228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.Surfing-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 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\">W\u003c/span>hile waiting for the ride to start, one young brother rode in my direction, standing with one foot on his seat and the other on his handlebars, as he “surfed” his bike past the “For Lease” sign at the base of a newly constructed building full of overpriced apartments.\u003c/p>\n\u003cp>Moments later, NFL star Marshawn Lynch, Beastmode himself, pulled up and hopped out of the passenger seat of what looked to be a late-’90s–early-2000s four-door Honda Civic; “an under bucket” would probably be the best local colloquialism I’d use to describe the vehicle. A crowd of teenagers flocked around him as he and his cousin, NFL Quarterback Josh Johnson, prepared to ride out.\u003c/p>\n\u003cp>A couple minutes after noon, the platoon took to the streets; I fell inline. First commandeering Broadway, headed north to 11th street, where we made a right and headed east. We went through the tunnel by the museum and around the southern fringe of Lake Merritt, before banging a right on \u003ca href=\"https://www.sfgate.com/bayarea/article/Oakland-Renames-East-14th-Street-It-ll-be-2983004.php\" target=\"_blank\" rel=\"noopener noreferrer\">East 14th Street\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13836226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836226\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MarshawnnLady-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The first neighborhood we hit is commonly referred to as Funktown. There, Asian storeowners and residents stood curbside, cameras in hand as they recorded the stream of what had easily grown to over 1,000 cyclists.\u003c/p>\n\u003cp>All shades of black, brown and white people were in motion through East Oakland—mostly boys and men, but plenty of women scattered in the pack too. All ages, too: I saw some artists who are OGs in the graffiti world, and cheered on the push of an elementary-aged kid as he rode a bike that looked like its training wheels had just been taken off.\u003c/p>\n\u003cp>All the while, my daughter was comfy in her seat, waving at people; she didn’t appear to be thinking about that nap, and probably wouldn’t have been able to sleep through the music anyway. There were people with Bluetooth speakers, a couple folks with three-wheel bikes allowing them to carry larger speakers, and even one guy who had a studio monitor-sized speaker strapped to his back.\u003c/p>\n\u003cfigure id=\"attachment_13836227\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836227\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.StreetBW-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These mobile sound systems blasted well-known hits from local artists, folks like Mac Dre, Kamaiyah and ALLBLACK, and the people on the streets couldn’t help but watch in amazement. The young black sister on the corner with the short skirt and tall heels who smiled as we passed. The older Latino brother in the 10-gallon hat who waved as he stepped outside of the Iglesia. The little Filipino kids on their apartment stairs who pointed in awe as the fleet flew by.\u003c/p>\n\u003cp>This procession might sound chaotic, but it wasn’t. The professional BMX riders and others working the event paused at each intersection to make sure traffic didn’t cross our path. They were also vocal toward the cyclists, demanding we all stay to the right, so as to not block oncoming traffic.\u003c/p>\n\u003cp>We dodged potholes and kept pedaling as we came around the corner near Rainbow Recreational Center, where the scene was parade-like. People stood on their porches cheering for us and asking us where we were going. We traveled up Seminary, in the direction of where a man had been killed on the Friday night prior to the ride, but turned a left on Foothill before reaching the crime scene. Some people cut through the parking lot of the newly constructed Seminary Point shopping center, hitting wheelies and doing bunny hops over the curbs.\u003c/p>\n\u003cfigure id=\"attachment_13836223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bike_.Wheelie-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We biked through the smell of weed being smoked and BBQ grills getting lit. We passed the Muslim Brothers in suits in front of the mosque, past Fremont High, then past the Mac Dre mural and the “We Buy Ugly Homes” advertisement. People in cars stuck their arms out the window for high-fives.\u003c/p>\n\u003cp>We eventually ended up at San Antonio Park for our first real rest. It was enough time for my daughter to have a snack, run through the grass and play on the swings. (Nap? What nap?) An impromptu bike sideshow started in the middle of the street, as someone on a dirt bike swang donuts and people gathered around to watch; Marshawn and Josh included.\u003c/p>\n\u003cp>After the smokers got their tokes and the sippers wet their lips, people were back on the road: Lake Merritt bound.\u003c/p>\n\u003cfigure id=\"attachment_13836225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.MAIN2_.Group_-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s we descended on the Lakeshore side of Lake Merritt, I thought about all that’s transpired in that area over the past few weeks: the stories of “BBQ Becky” and “Jogger Joe,” and how those cases were largely about power, privilege and policing the lives of people of color. Even the story from a day prior to the bike ride, across the Bay, where a white woman called the police on a little black girl for selling water—the “Permit Patty” incident.\u003c/p>\n\u003cp>Whether it’s the selling of water, sleeping in a makeshift dwelling or preparing food with family, these stories are about people of color simply existing, and people with perceived power policing their existence.\u003c/p>\n\u003cfigure id=\"attachment_13836224\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13836224\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1020x1528.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-801x1200.jpg 801w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-1180x1767.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-960x1438.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-375x562.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs-520x779.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.kidonstairs.jpg 1282w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Martina Patella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But on Sunday afternoon, the bikers weren’t having that. They were existing to the fullest; living their best life, as the kids say.\u003c/p>\n\u003cp>I saw the late June sun bounce off of so many gold grills that day.\u003c/p>\n\u003cp>I mean, I also saw a half-dozen minor bike accidents; people falling after trying to stunt on wheelies or ride with no hands. One young man on a double-decker scraper bike without brakes rear-ended someone else. But I didn’t see any injuries, nor any major conflicts between bikers or drivers. Everyone who fell got back up and kept riding.\u003c/p>\n\u003cp>And even that aspect of the ride is important. These kids were free to make mistakes, which all too often isn’t the case for young people of color in America. Mistakes? Hell, for some, simply existing is its own consequence.\u003c/p>\n\u003cfigure id=\"attachment_13836230\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg\" alt=\"Marshawn Lynch's second 'Oakland Ride Out,' June 24, 2018.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Pen.Bikes_.pack_.end_-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Marshawn Lynch’s second Oakland Rideout, June 24, 2018. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And no, Marshawn and Josh, the sponsors and the BMX riders—they weren’t organizing a protest. They weren’t politicizing the people of Oakland. They were just giving folks a chance to get out, exist in public, and claim their space. That’s worth a lot these days.\u003c/p>\n\u003cp>As the seemingly never-ending trail of bikes wrapped around the northern portion of Lake Merritt, flowing from Lakeshore to Grand, eventually back downtown and then toward Marshawn and Josh’s alma mater, Oakland Tech, my daughter and I spun off. It was well past her nap time, and almost time for mine.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "homeless-cleared-from-mosswood-park-ahead-of-burger-boogaloo",
"title": "Homeless Cleared from Oakland's Mosswood Park Ahead of Burger Boogaloo",
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"headTitle": "Homeless Cleared from Oakland’s Mosswood Park Ahead of Burger Boogaloo | KQED",
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"content": "\u003cp>Oakland police officers cleared out homeless camps at Oakland’s Mosswood Park Tuesday, days before the popular punk festival Burger Boogaloo.\u003c/p>\n\u003cp>The sweep removed an estimated 20 people living in tents on the park grounds, according to Joe DeVries, assistant to the Oakland City Administrator. While the removal occurred just days before Burger Boogaloo, DeVries said that the city cleared the homeless in preparation for a program serving disabled youth. The program, which had been on hiatus since 2016 following a fire at the park’s recreation center, expects 150 participants next month.\u003c/p>\n\u003cp>Concerns over issues created by the encampment, such as the sizable amount of syringes littering the grounds, led to the city clearing the park, a decision DeVries said was announced four months ago.\u003c/p>\n\u003cp>“We can’t have 150 disabled students recreating in a park where we routinely collect hundreds of hypodermic needles,” DeVries \u003ca href=\"https://www.eastbaytimes.com/2018/06/26/homeless-cleared-out-of-north-oakland-park/\" rel=\"noopener\" target=\"_blank\">told the \u003cem>East Bay Times\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, news of the sweep \u003ca href=\"https://twitter.com/Indybay/status/1011699489332068356\" rel=\"noopener\" target=\"_blank\">spread on social media\u003c/a>, where \u003ca href=\"https://www.facebook.com/totaltrashproductions/\" rel=\"noopener\" target=\"_blank\">Burger Boogaloo promoters\u003c/a> came under \u003ca href=\"https://twitter.com/charmainesnames/status/1011821672775630854\" rel=\"noopener\" target=\"_blank\">criticism\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burger Boogaloo released an official statement Wednesday afternoon.\u003c/p>\n\u003cp>“Burger Boogaloo is pained by the ongoing homeless crisis in Oakland and everywhere,” it read. “As a consequence of events and programs planned at Mosswood Park, including our permitted event, people living there were asked to leave by Oakland Police. Prior to the Tuesday expulsion, Burger Boogaloo staff spent time assisting people in the park with the move.”\u003c/p>\n\u003cp>Burger Boogaloo also stated that it had donated to \u003ca href=\"http://apcollaborative.org/\" rel=\"noopener\" target=\"_blank\">Alameda Point Collaborative\u003c/a> and \u003ca href=\"http://www.homeaway.org/\" rel=\"noopener\" target=\"_blank\">A Home Away From Homelessness\u003c/a>, two homeless assistance organizations, adding that “we encourage our friends and anyone concerned about the plight of people here in our community to do the same.”\u003c/p>\n\u003cp>The festival further announced that the \u003ca href=\"http://homelessactioncenter.org/\" rel=\"noopener\" target=\"_blank\">Homeless Action Center\u003c/a> will have a presence at the two-day festival, with members collecting donations.\u003c/p>\n\u003cp>Calls to Boogaloo founder Marcos Ribak were not returned at press time.\u003c/p>\n\u003cp>Issues of homelessness have overlapped with the local music scene in recent weeks, with Jason Perkins of local venues the New Parish and Brick & Mortar Music Hall \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">caught on security video pepper-spraying a homeless man\u003c/a>. Some say Perkins also appears to have been behind flyers posted around the Brick & Mortar Music Hall which called for homeless people to clear out, and \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">threatened physical violence and burning\u003c/a> for those who did not. (A homeless benefit featuring Equipto, La Misa Negra and Mistah F.A.B. scheduled at the New Parish was \u003ca href=\"https://www.kqed.org/arts/13835668/with-latest-album-equipto-calls-out-housing-crisis-and-gentrification\" rel=\"noopener\" target=\"_blank\">moved to a different venue\u003c/a> in response.)\u003c/p>\n\u003cp>Aleksander Prechtl, friend of Ribak and singer for the band Battleship, who are scheduled to perform at the festival this weekend, told KQED that he was “confident” Boogaloo’s organizers “advocated the city on behalf of the homeless and would assist in minimizing the disruption to their lives.”\u003c/p>\n\u003cp>“I’ve known Marcos for many years and have no reason to think he’d be anything but kind and generous to everyone, especially the homeless,” Prechtl wrote in an email.\u003c/p>\n\u003cp>Prechtl opined that because the festival uses only half the park, an option might have been to move the encampment to another site in the park, but away from the festival. He added that it’s on the city to “treat the housing crisis as the emergency it is.”\u003c/p>\n\u003cp>“We should not allow homelessness to be ever seen as normal nor acceptable. We, as a society, need to treat housing and healthcare as the human rights that they are,” Prechtl wrote. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The festival came under criticism after Oakland Police cleared an estimated 20 homeless people living in tents this week.",
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"title": "Homeless Cleared from Oakland's Mosswood Park Ahead of Burger Boogaloo | KQED",
"description": "The festival came under criticism after Oakland Police cleared an estimated 20 homeless people living in tents this week.",
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"headline": "Homeless Cleared from Oakland's Mosswood Park Ahead of Burger Boogaloo",
"datePublished": "2018-06-27T18:27:46-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland police officers cleared out homeless camps at Oakland’s Mosswood Park Tuesday, days before the popular punk festival Burger Boogaloo.\u003c/p>\n\u003cp>The sweep removed an estimated 20 people living in tents on the park grounds, according to Joe DeVries, assistant to the Oakland City Administrator. While the removal occurred just days before Burger Boogaloo, DeVries said that the city cleared the homeless in preparation for a program serving disabled youth. The program, which had been on hiatus since 2016 following a fire at the park’s recreation center, expects 150 participants next month.\u003c/p>\n\u003cp>Concerns over issues created by the encampment, such as the sizable amount of syringes littering the grounds, led to the city clearing the park, a decision DeVries said was announced four months ago.\u003c/p>\n\u003cp>“We can’t have 150 disabled students recreating in a park where we routinely collect hundreds of hypodermic needles,” DeVries \u003ca href=\"https://www.eastbaytimes.com/2018/06/26/homeless-cleared-out-of-north-oakland-park/\" rel=\"noopener\" target=\"_blank\">told the \u003cem>East Bay Times\u003c/em>\u003c/a>. \u003c/p>\n\u003cp>Meanwhile, news of the sweep \u003ca href=\"https://twitter.com/Indybay/status/1011699489332068356\" rel=\"noopener\" target=\"_blank\">spread on social media\u003c/a>, where \u003ca href=\"https://www.facebook.com/totaltrashproductions/\" rel=\"noopener\" target=\"_blank\">Burger Boogaloo promoters\u003c/a> came under \u003ca href=\"https://twitter.com/charmainesnames/status/1011821672775630854\" rel=\"noopener\" target=\"_blank\">criticism\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burger Boogaloo released an official statement Wednesday afternoon.\u003c/p>\n\u003cp>“Burger Boogaloo is pained by the ongoing homeless crisis in Oakland and everywhere,” it read. “As a consequence of events and programs planned at Mosswood Park, including our permitted event, people living there were asked to leave by Oakland Police. Prior to the Tuesday expulsion, Burger Boogaloo staff spent time assisting people in the park with the move.”\u003c/p>\n\u003cp>Burger Boogaloo also stated that it had donated to \u003ca href=\"http://apcollaborative.org/\" rel=\"noopener\" target=\"_blank\">Alameda Point Collaborative\u003c/a> and \u003ca href=\"http://www.homeaway.org/\" rel=\"noopener\" target=\"_blank\">A Home Away From Homelessness\u003c/a>, two homeless assistance organizations, adding that “we encourage our friends and anyone concerned about the plight of people here in our community to do the same.”\u003c/p>\n\u003cp>The festival further announced that the \u003ca href=\"http://homelessactioncenter.org/\" rel=\"noopener\" target=\"_blank\">Homeless Action Center\u003c/a> will have a presence at the two-day festival, with members collecting donations.\u003c/p>\n\u003cp>Calls to Boogaloo founder Marcos Ribak were not returned at press time.\u003c/p>\n\u003cp>Issues of homelessness have overlapped with the local music scene in recent weeks, with Jason Perkins of local venues the New Parish and Brick & Mortar Music Hall \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">caught on security video pepper-spraying a homeless man\u003c/a>. Some say Perkins also appears to have been behind flyers posted around the Brick & Mortar Music Hall which called for homeless people to clear out, and \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\" rel=\"noopener\" target=\"_blank\">threatened physical violence and burning\u003c/a> for those who did not. (A homeless benefit featuring Equipto, La Misa Negra and Mistah F.A.B. scheduled at the New Parish was \u003ca href=\"https://www.kqed.org/arts/13835668/with-latest-album-equipto-calls-out-housing-crisis-and-gentrification\" rel=\"noopener\" target=\"_blank\">moved to a different venue\u003c/a> in response.)\u003c/p>\n\u003cp>Aleksander Prechtl, friend of Ribak and singer for the band Battleship, who are scheduled to perform at the festival this weekend, told KQED that he was “confident” Boogaloo’s organizers “advocated the city on behalf of the homeless and would assist in minimizing the disruption to their lives.”\u003c/p>\n\u003cp>“I’ve known Marcos for many years and have no reason to think he’d be anything but kind and generous to everyone, especially the homeless,” Prechtl wrote in an email.\u003c/p>\n\u003cp>Prechtl opined that because the festival uses only half the park, an option might have been to move the encampment to another site in the park, but away from the festival. He added that it’s on the city to “treat the housing crisis as the emergency it is.”\u003c/p>\n\u003cp>“We should not allow homelessness to be ever seen as normal nor acceptable. We, as a society, need to treat housing and healthcare as the human rights that they are,” Prechtl wrote. \u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "drag-king-jay-mercury-defies-machismo-with-body-rolls-and-sombrero-pasties",
"title": "Drag King Jay Mercury Defies Machismo with Body Rolls and Sombrero Pasties",
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"headTitle": "Drag King Jay Mercury Defies Machismo with Body Rolls and Sombrero Pasties | KQED",
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"content": "\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835317\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/jayinfo.png\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo.png 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo-240x320.png 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>The winning number, the showstopper that led \u003ca href=\"https://emjaymercury.com/bio/\" target=\"_blank\" rel=\"noopener\">Jay Mercury\u003c/a> to be crowned winner of San Francisco’s 2017 \u003ca href=\"http://sfdragkingcontest.com/index.html\" target=\"_blank\" rel=\"noopener\">Drag King contest\u003c/a> (a title shared with performance artist El SeVan), involves two miniature sombreros, a chest hairpiece, a Mexican flag that comes out of Mercury’s pants and Vicente Fernández’s mariachi classic “\u003ca href=\"https://youtu.be/YZBHetgXKb4\" target=\"_blank\" rel=\"noopener\">El Rey\u003c/a>.”\u003c/p>\n\u003cp>“I remember thinking, ‘They don’t even know what the f-ck is going to happen right now,’” Mercury says.\u003c/p>\n\u003cp>At the end of the performance, the crowd erupted into screams and applause, securing Mercury’s claim to the crown. For Mercury, the drag king persona of Oakland-based Rebecca Salas, it was a validating moment as someone who identifies as Latinx and takes pride in her Chicana heritage.\u003c/p>\n\u003cp>“There’s no kings of color, practically, especially Chicana or Mexican,” she explains. “I remember doing it and feeling like, ‘Oh god, I’m being such a token Latin person right now.’” Then she realized the audience was singing along; the act resonated with them.\u003c/p>\n\u003cfigure id=\"attachment_13835011\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_3.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salas found her way to drag through what might seem like an unlikely route: burlesque. Just before her debut as her burlesque persona, Emjay Mercury, at the 2016 Folsom Street Fair, Dahlia Kash a.k.a. Javier Miguel, Salas’ burlesque mom/drag dad (or the person who initiated her into both art forms), encouraged her to get on stage at the venerable Oakland gay and lesbian bar, the \u003ca href=\"http://whitehorsebar.com/\" target=\"_blank\" rel=\"noopener\">White Horse\u003c/a>, during a night hosted by the drag troupe \u003ca href=\"http://therebelkingsofoak.wixsite.com/rkoakland\" target=\"_blank\" rel=\"noopener\">Rebel Kings of Oakland\u003c/a> (RKO). In need of another stage name, Salas dropped a few letters and Jay Mercury was born.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After that initial show in August 2016, Salas was hooked. “I just kept going back.”\u003c/p>\n\u003cp>Mercury is now an official member of the RKO troupe (initiation looks like a group marriage proposal, bended knee and all). To produce their shows, the members of RKO communicate via a Slack channel. “It’s a job!” says Salas. The group hosts shows at the White Horse every first and third Wednesday of the month, an event billed as “not your average drag king show!” And as Emjay, Salas performs at burlesque nights like Hubba Hubba at San Francisco’s DNA Lounge.\u003c/p>\n\u003cfigure id=\"attachment_13835010\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_2.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Differentiating between Emjay and Jay, high-femme seductress and macho drag king, might seem confusing, but Salas says it’s emblematic of her own gender fluidity, something she’s discovered through performing. “I do a lot of gender-bending acts, and sometimes the lines get blurred between the two personas,” she says.\u003c/p>\n\u003cp>At Hubba Hubba, where Salas says “people go to see boobies and butts,” she sometimes takes the stage as Jay, stripping down to a taped chest adorned with pasties that look like a man’s nipples. And the audiences cheer just as enthusiastically.\u003c/p>\n\u003cp>“I just like to keep pushing and pushing those boundaries of what a woman is expected to do and what a man’s expected to do, or what anyone in between is expected to do,” she says.\u003c/p>\n\u003cp>\u003ci>Please note: The video below contains partial nudity.\u003c/i>\u003cbr>\nhttps://youtu.be/twM-wr6vZzU\u003c/p>\n\u003cp>Salas grew up in Fresno and moved to the Bay Area to study philosophy and ancient Greek at St. Mary’s College of California. And while those areas of study might seem far removed from bar stages, stripteases and Jay’s charming, mustachioed swagger, Salas’ classical language degree focused on performative recitation. And crafting an argument in philosophy, she says, is weirdly similar to the process of building an act for a stage persona.\u003c/p>\n\u003cp>So how would one describe Jay Mercury now, two years into his existence? “He’s kind of a creep. Sometimes we call him tío, uncle. At least in my family, you’re always going to have the crazy drunk tío,” Salas explains. Think Cheech Marin for looks, body rolls as a staple dance move and a face animated by plenty of waggling eyebrows. “He’s the amplified little man inside me.”\u003c/p>\n\u003cp>For Salas, the mainstream popularity of drag and the success of \u003cem>RuPaul’s Drag Race\u003c/em> is a double-edged sword. “A lot more intersectionality in the drag world is happening and it’s super awesome, but I will admit it’s more so for the queens,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13835341\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_4.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2016, when \u003ci>\u003ca href=\"https://www.advocate.com/people/2016/8/24/quiet-children-rupaul-has-things-say-about-trump-awards-and-cops\" target=\"_blank\" rel=\"noopener\">The Advocate\u003c/a>\u003c/i> asked RuPaul if drag kings would one day appear on the show, the host responded, “Maybe on another show, but if you mix it up it’s like trying to make a Mac computer compatible with a PC—they don’t really mix.” Then, in a March 2018 interview with \u003cem>\u003ca href=\"https://www.theguardian.com/tv-and-radio/2018/mar/03/rupaul-drag-race-big-f-you-to-male-dominated-culture\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>\u003c/em>, RuPaul further ignited the queer community by stating that he would “probably not” allow a transgender woman to compete on the reality show.\u003c/p>\n\u003cp>“Personally I don’t watch the show as much after that happened, because it leaves a bad taste in your mouth,” Salas says, “but that doesn’t negate everything that that show and that person have done for the queer community.”\u003c/p>\n\u003cp>“All drag is valid, all drag is beautiful,” she continues. “Nobody should be out there trying to enforce whatever their ideas are.”\u003c/p>\n\u003cp>Salas says watching the next generation of drag kings coming up in the Bay Area scene is both exciting and scary. “I gotta step up my game,” she says. “Because they’re just blowing it out of the water over here.”\u003c/p>\n\u003cp>She sees a shift from presentations of male illusion—acts that focus on “passing” as a cisgender man—to performances that complicate traditional ideas of masculinity. “I’d say there’s a lot more emotion in drag and people aren’t afraid to share their stories,” Salas says.\u003c/p>\n\u003cfigure id=\"attachment_13835009\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_1.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Jay Mercury, part of the story Salas hopes to relate on stage is being a drag king of color. “It took me a while to kind of find my voice on that, because I didn’t realize there’s not that many of us,” Salas says. Her family is supportive of what she calls “my very fun hobby,” but she has many queer Latinx friends who no longer have relationships with their parents or families.\u003c/p>\n\u003cp>“The fact is when you grow up in not only a culture but a religion that is generally not very accepting of those things or understanding, it’s very difficult,” Salas says. “That’s why I never saw drag kings in Fresno, ever.”\u003c/p>\n\u003cp>Salas believes in the possibility of shifting the way her culture views gender roles, one drag performance at a time. “There’s so much love and passion in Latin culture, especially for your family. There’s just lessons to be learned, and if I can do anything, not necessarily in teaching people but showing them my story, hopefully that can make an impact.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Catch Jay Mercury in Peepshow at \u003ca href=\"https://undergroundnomads.wordpress.com/2018/06/13/june-19-peepshow-drag-burlesque-variety-at-underground-nomads-for-pride-month/\" target=\"_blank\" rel=\"noopener\">F8 in San Francisco\u003c/a> on June 19. Mercury also performs at \u003ca href=\"https://www.ticketfly.com/purchase/event/1708636?utm_medium=api\" target=\"_blank\" rel=\"noopener\">Nudie Nu Boi’s\u003c/a> at San Francisco’s Monarch and with Rebel Kings of Oakland at the \u003ca href=\"http://whitehorsebar.com/event/rebel-kings-3/?instance_id=52379\" target=\"_blank\" rel=\"noopener\">White Horse\u003c/a>, both on June 20.\u003c/i>\u003c/p>\n\n",
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"excerpt": "Jay Mercury is a king on a mission to challenge gender norms both in and outside of drag.",
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"title": "Drag King Jay Mercury Defies Machismo with Body Rolls and Sombrero Pasties | KQED",
"description": "Jay Mercury is a king on a mission to challenge gender norms both in and outside of drag.",
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"headline": "Drag King Jay Mercury Defies Machismo with Body Rolls and Sombrero Pasties",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s Note: \u003c/em>The Changing Face of Drag\u003cem> is a five-part KQED Arts series spotlighting innovative performers pushing the boundaries of drag in the Bay Area. Click to read more \u003ca href=\"https://www.kqed.org/arts/series/changing-face-of-drag\" target=\"_blank\" rel=\"noopener\">about the series\u003c/a>. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13835317\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835317\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/jayinfo.png\" alt=\"Creo Noveno/KQED\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo.png 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo-160x213.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/jayinfo-240x320.png 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">Creo Noveno/KQED\u003c/figcaption>\u003c/figure>\n\u003cp>The winning number, the showstopper that led \u003ca href=\"https://emjaymercury.com/bio/\" target=\"_blank\" rel=\"noopener\">Jay Mercury\u003c/a> to be crowned winner of San Francisco’s 2017 \u003ca href=\"http://sfdragkingcontest.com/index.html\" target=\"_blank\" rel=\"noopener\">Drag King contest\u003c/a> (a title shared with performance artist El SeVan), involves two miniature sombreros, a chest hairpiece, a Mexican flag that comes out of Mercury’s pants and Vicente Fernández’s mariachi classic “\u003ca href=\"https://youtu.be/YZBHetgXKb4\" target=\"_blank\" rel=\"noopener\">El Rey\u003c/a>.”\u003c/p>\n\u003cp>“I remember thinking, ‘They don’t even know what the f-ck is going to happen right now,’” Mercury says.\u003c/p>\n\u003cp>At the end of the performance, the crowd erupted into screams and applause, securing Mercury’s claim to the crown. For Mercury, the drag king persona of Oakland-based Rebecca Salas, it was a validating moment as someone who identifies as Latinx and takes pride in her Chicana heritage.\u003c/p>\n\u003cp>“There’s no kings of color, practically, especially Chicana or Mexican,” she explains. “I remember doing it and feeling like, ‘Oh god, I’m being such a token Latin person right now.’” Then she realized the audience was singing along; the act resonated with them.\u003c/p>\n\u003cfigure id=\"attachment_13835011\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835011\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_3.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_3-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Salas found her way to drag through what might seem like an unlikely route: burlesque. Just before her debut as her burlesque persona, Emjay Mercury, at the 2016 Folsom Street Fair, Dahlia Kash a.k.a. Javier Miguel, Salas’ burlesque mom/drag dad (or the person who initiated her into both art forms), encouraged her to get on stage at the venerable Oakland gay and lesbian bar, the \u003ca href=\"http://whitehorsebar.com/\" target=\"_blank\" rel=\"noopener\">White Horse\u003c/a>, during a night hosted by the drag troupe \u003ca href=\"http://therebelkingsofoak.wixsite.com/rkoakland\" target=\"_blank\" rel=\"noopener\">Rebel Kings of Oakland\u003c/a> (RKO). In need of another stage name, Salas dropped a few letters and Jay Mercury was born.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After that initial show in August 2016, Salas was hooked. “I just kept going back.”\u003c/p>\n\u003cp>Mercury is now an official member of the RKO troupe (initiation looks like a group marriage proposal, bended knee and all). To produce their shows, the members of RKO communicate via a Slack channel. “It’s a job!” says Salas. The group hosts shows at the White Horse every first and third Wednesday of the month, an event billed as “not your average drag king show!” And as Emjay, Salas performs at burlesque nights like Hubba Hubba at San Francisco’s DNA Lounge.\u003c/p>\n\u003cfigure id=\"attachment_13835010\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835010\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_2.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_2-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Differentiating between Emjay and Jay, high-femme seductress and macho drag king, might seem confusing, but Salas says it’s emblematic of her own gender fluidity, something she’s discovered through performing. “I do a lot of gender-bending acts, and sometimes the lines get blurred between the two personas,” she says.\u003c/p>\n\u003cp>At Hubba Hubba, where Salas says “people go to see boobies and butts,” she sometimes takes the stage as Jay, stripping down to a taped chest adorned with pasties that look like a man’s nipples. And the audiences cheer just as enthusiastically.\u003c/p>\n\u003cp>“I just like to keep pushing and pushing those boundaries of what a woman is expected to do and what a man’s expected to do, or what anyone in between is expected to do,” she says.\u003c/p>\n\u003cp>\u003ci>Please note: The video below contains partial nudity.\u003c/i>\u003cbr>\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/twM-wr6vZzU'\n title='//www.youtube.com/embed/twM-wr6vZzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Salas grew up in Fresno and moved to the Bay Area to study philosophy and ancient Greek at St. Mary’s College of California. And while those areas of study might seem far removed from bar stages, stripteases and Jay’s charming, mustachioed swagger, Salas’ classical language degree focused on performative recitation. And crafting an argument in philosophy, she says, is weirdly similar to the process of building an act for a stage persona.\u003c/p>\n\u003cp>So how would one describe Jay Mercury now, two years into his existence? “He’s kind of a creep. Sometimes we call him tío, uncle. At least in my family, you’re always going to have the crazy drunk tío,” Salas explains. Think Cheech Marin for looks, body rolls as a staple dance move and a face animated by plenty of waggling eyebrows. “He’s the amplified little man inside me.”\u003c/p>\n\u003cp>For Salas, the mainstream popularity of drag and the success of \u003cem>RuPaul’s Drag Race\u003c/em> is a double-edged sword. “A lot more intersectionality in the drag world is happening and it’s super awesome, but I will admit it’s more so for the queens,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13835341\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_4.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_4-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2016, when \u003ci>\u003ca href=\"https://www.advocate.com/people/2016/8/24/quiet-children-rupaul-has-things-say-about-trump-awards-and-cops\" target=\"_blank\" rel=\"noopener\">The Advocate\u003c/a>\u003c/i> asked RuPaul if drag kings would one day appear on the show, the host responded, “Maybe on another show, but if you mix it up it’s like trying to make a Mac computer compatible with a PC—they don’t really mix.” Then, in a March 2018 interview with \u003cem>\u003ca href=\"https://www.theguardian.com/tv-and-radio/2018/mar/03/rupaul-drag-race-big-f-you-to-male-dominated-culture\" target=\"_blank\" rel=\"noopener\">The Guardian\u003c/a>\u003c/em>, RuPaul further ignited the queer community by stating that he would “probably not” allow a transgender woman to compete on the reality show.\u003c/p>\n\u003cp>“Personally I don’t watch the show as much after that happened, because it leaves a bad taste in your mouth,” Salas says, “but that doesn’t negate everything that that show and that person have done for the queer community.”\u003c/p>\n\u003cp>“All drag is valid, all drag is beautiful,” she continues. “Nobody should be out there trying to enforce whatever their ideas are.”\u003c/p>\n\u003cp>Salas says watching the next generation of drag kings coming up in the Bay Area scene is both exciting and scary. “I gotta step up my game,” she says. “Because they’re just blowing it out of the water over here.”\u003c/p>\n\u003cp>She sees a shift from presentations of male illusion—acts that focus on “passing” as a cisgender man—to performances that complicate traditional ideas of masculinity. “I’d say there’s a lot more emotion in drag and people aren’t afraid to share their stories,” Salas says.\u003c/p>\n\u003cfigure id=\"attachment_13835009\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835009\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JayMercury_1.jpg\" alt=\"Jay Mercury in Oakland\" width=\"1200\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JayMercury_1-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Jay Mercury in Oakland \u003ccite>(Christina Campbell/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Jay Mercury, part of the story Salas hopes to relate on stage is being a drag king of color. “It took me a while to kind of find my voice on that, because I didn’t realize there’s not that many of us,” Salas says. Her family is supportive of what she calls “my very fun hobby,” but she has many queer Latinx friends who no longer have relationships with their parents or families.\u003c/p>\n\u003cp>“The fact is when you grow up in not only a culture but a religion that is generally not very accepting of those things or understanding, it’s very difficult,” Salas says. “That’s why I never saw drag kings in Fresno, ever.”\u003c/p>\n\u003cp>Salas believes in the possibility of shifting the way her culture views gender roles, one drag performance at a time. “There’s so much love and passion in Latin culture, especially for your family. There’s just lessons to be learned, and if I can do anything, not necessarily in teaching people but showing them my story, hopefully that can make an impact.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13835025\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-768x75.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-375x37.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Compact_Logo_Break-520x51.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Catch Jay Mercury in Peepshow at \u003ca href=\"https://undergroundnomads.wordpress.com/2018/06/13/june-19-peepshow-drag-burlesque-variety-at-underground-nomads-for-pride-month/\" target=\"_blank\" rel=\"noopener\">F8 in San Francisco\u003c/a> on June 19. Mercury also performs at \u003ca href=\"https://www.ticketfly.com/purchase/event/1708636?utm_medium=api\" target=\"_blank\" rel=\"noopener\">Nudie Nu Boi’s\u003c/a> at San Francisco’s Monarch and with Rebel Kings of Oakland at the \u003ca href=\"http://whitehorsebar.com/event/rebel-kings-3/?instance_id=52379\" target=\"_blank\" rel=\"noopener\">White Horse\u003c/a>, both on June 20.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Father Making Art Into a Better Life for His Sons in East Oakland",
"headTitle": "A Father Making Art Into a Better Life for His Sons in East Oakland | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">J\u003c/span>amaica The Artist recently cut his long locs, so I hardly recognized him at Lake Merritt last Sunday. But he caught my attention as I overheard him discussing the ups and downs of being an artist in Oakland, as well as being a father; not just a father, but dad to six African American boys.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>When I looked a little closer, I realized I’d taken photos of him painting a mural, dedicated to the late rap artist known as the Jacka, on MacArthur and 94th Avenue in deep East Oakland. I also had photos of him painting by the lake just over two years ago. I can’t recall where I first met him, but I knew him, or at least his name.\u003c/p>\n\u003cp>I decided it was time I got to know his story.\u003c/p>\n\u003cp>Jamaica’s real name is Brandon Ehieze, his last name attributed to his Nigerian lineage. A friend of his nicknamed him Baby Jamaica, because of the locs he had at the time. The name stuck. Now people know him as Jamaica The Artist, or simply Jamaica.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And people \u003cem>know\u003c/em> him. He’s connected to a huge family of Bay Area based artists, maintaining a brotherhood-like bond with rappers like Shady Nate and working relationships with visual artists, like GATS. His networking ability and artistic skill means his work is featured all around town: on the old American Steel Building in West Oakland, on the walls of Complex Oakland on 14th and Broadway, or on the walls of Mistah Fab’s new Dope Era store.\u003c/p>\n\u003cp>He works constantly. Sleeps rarely. And is a firm believer in the motto: “You have to go through it to get to it.”\u003c/p>\n\u003cfigure id=\"attachment_13835200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-800x533.jpg\" alt=\"Jamaica the Artist in his deep East Oakland studio.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamaica the Artist in his deep East Oakland studio. \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\">J\u003c/span>amaica’s studio is in the back of East Oakland, somewhere between the Coliseum and the airport, in a maze of warehouses and office buildings. Inside of his two-room studio, there’s ample evidence of his artistry. A pair of freshly painted Nike Huaraches dry on the windowsill. The T-shirt press sits stopped in mid-operation. On the table lay painted Warriors shirts, made in celebration of the most recent championship. And amidst the paint supplies and colorful creations, there’s Jamaica.\u003c/p>\n\u003cp>When I walk in the studio, he’s deep in the art of cleaning, a self-proclaimed “clean freak”—something he probably picked up while incarcerated, he tells me. So we sit down in the second room of the studio—the cleaner side—for a little chat about art, entrepreneurship and being a father to six African American boys in Oakland.\u003c/p>\n\u003cp>Two box fans buzz in the background as I place my recorder on the lip of his weed-rolling tray, letting the tape roll as he does the same with his herb. Above his head is an abstract painting of Erykah Badu, which spans the length of the wall. The first thing he tells me is his fandom of Queen Badu, and how one time he almost fought a friend because they called Erykah a b-word that wasn’t Badu.\u003c/p>\n\u003cp>The second thing he tells me is the origin story of his artistic ability.\u003c/p>\n\u003cp>The first spark came when his mother’s friend, an Oakland fire captain, used to give Jamaica sketchbooks when he was elementary school aged, around the same time Jamaica used to hit hip-hop shows with his older brother and perform as a background dancer. His own creative impulse just needed to find the right canvas, is all.\u003c/p>\n\u003cfigure id=\"attachment_13835206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835206\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt.jpg\" alt=\"Jamaica the Artist painting at Lake Merritt.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamaica the Artist painting at Lake Merritt. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had some Bugle Boy jeans, and a yellow highlighter, I’ll never forget it,” says Jamaica. “I drew some shit on my pants, my mom saw that, and was like, ‘Boy, what the hell is wrong with you!?’” His mom properly punished him, and left him thinking, “I’m not drawing on anything else ever again in life.”\u003c/p>\n\u003cp>That lasted until one fateful night during the hyphy movement, when a group of his friends were about to perform, and needed some cool shirts made. He charged them $15 each, and created his business right then and there.\u003c/p>\n\u003cp>The business, however, was short-lived. He was soon arrested for charges related to a robbery and kidnapping; the incident happened just months after his first son was born.\u003c/p>\n\u003cp>After his release from prison, he was searching for work when, sure enough, a friend pulled up needing another shirt made. He got to work.\u003c/p>\n\u003cp>“Now I’m tearin’ stuff up when it comes to walls, shoes, canvases, clothes. And it’s like, damn, I got my ass whooped for this, and now I’m getting paid for this,” says Jamaica.\u003c/p>\n\u003cp>I ask the types of things he paints. “Shoes, shirts, walls, canvases, banners. Yeah, man, whatever you want, I’ll paint a car! Straight up, I’ll paint your house,” Jamaica says, rattling off the list without pausing for breath. “I’ve got to go finish my little cousin’s fireplace in a minute.”\u003c/p>\n\u003cfigure id=\"attachment_13835201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jamaica1-800x533.jpg\" alt=\"Jamaica the Artist in his deep East Oakland studio.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamaica the Artist in his deep East Oakland studio. \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\">J\u003c/span>amaica literally sleeps in his studio, which may not seem attractive to most, but it’s something he’s happy to do. “I’ve slept in trap houses with roaches, and rats, and heroin bundles, and coke addicts sleeping next to me,” Jamaica told me. “I feel good to be in an art studio I built from the ground up.”\u003c/p>\n\u003cp>And with support from his children’s mothers, his current girlfriend and his family, he manages to make sure his sons have more than he had as a child.\u003c/p>\n\u003cp>“I go back to the things that I didn’t like as a kid—did I even have the chance to say, ‘Daddy, I want them shoes?’” Jamaica reflects, noting that he grew up without his father. “It’s not like I get (my children) every pair of Jordans they want, but I make sure they have fresh clothes.”\u003c/p>\n\u003cp>He knows he’s not perfect. No parent is. Hell, no human is. With that in mind, his advice to his sons—Brandon Jr., Knowledge, Bomani, Sincere, Legend and another child due in September of this year—is almost perfection in verse:\u003c/p>\n\u003cp>“Stop following what your friends think is cool. I thought certain shit was cool, but it wasn’t. You can’t even claim your name if you aren’t living your truth.”\u003c/p>\n\u003cp>Jamaica continues, his fatherhood showing. “We live in a world where being you isn’t cool until you’re getting money for it. I always tell my sons to be the best you you can be. And then get paid for it!”\u003c/p>\n\u003cp>In other words: Go through it to get to it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(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\">J\u003c/span>amaica The Artist recently cut his long locs, so I hardly recognized him at Lake Merritt last Sunday. But he caught my attention as I overheard him discussing the ups and downs of being an artist in Oakland, as well as being a father; not just a father, but dad to six African American boys.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>When I looked a little closer, I realized I’d taken photos of him painting a mural, dedicated to the late rap artist known as the Jacka, on MacArthur and 94th Avenue in deep East Oakland. I also had photos of him painting by the lake just over two years ago. I can’t recall where I first met him, but I knew him, or at least his name.\u003c/p>\n\u003cp>I decided it was time I got to know his story.\u003c/p>\n\u003cp>Jamaica’s real name is Brandon Ehieze, his last name attributed to his Nigerian lineage. A friend of his nicknamed him Baby Jamaica, because of the locs he had at the time. The name stuck. Now people know him as Jamaica The Artist, or simply Jamaica.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And people \u003cem>know\u003c/em> him. He’s connected to a huge family of Bay Area based artists, maintaining a brotherhood-like bond with rappers like Shady Nate and working relationships with visual artists, like GATS. His networking ability and artistic skill means his work is featured all around town: on the old American Steel Building in West Oakland, on the walls of Complex Oakland on 14th and Broadway, or on the walls of Mistah Fab’s new Dope Era store.\u003c/p>\n\u003cp>He works constantly. Sleeps rarely. And is a firm believer in the motto: “You have to go through it to get to it.”\u003c/p>\n\u003cfigure id=\"attachment_13835200\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835200\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-800x533.jpg\" alt=\"Jamaica the Artist in his deep East Oakland studio.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica.Portrait-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamaica the Artist in his deep East Oakland studio. \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\">J\u003c/span>amaica’s studio is in the back of East Oakland, somewhere between the Coliseum and the airport, in a maze of warehouses and office buildings. Inside of his two-room studio, there’s ample evidence of his artistry. A pair of freshly painted Nike Huaraches dry on the windowsill. The T-shirt press sits stopped in mid-operation. On the table lay painted Warriors shirts, made in celebration of the most recent championship. And amidst the paint supplies and colorful creations, there’s Jamaica.\u003c/p>\n\u003cp>When I walk in the studio, he’s deep in the art of cleaning, a self-proclaimed “clean freak”—something he probably picked up while incarcerated, he tells me. So we sit down in the second room of the studio—the cleaner side—for a little chat about art, entrepreneurship and being a father to six African American boys in Oakland.\u003c/p>\n\u003cp>Two box fans buzz in the background as I place my recorder on the lip of his weed-rolling tray, letting the tape roll as he does the same with his herb. Above his head is an abstract painting of Erykah Badu, which spans the length of the wall. The first thing he tells me is his fandom of Queen Badu, and how one time he almost fought a friend because they called Erykah a b-word that wasn’t Badu.\u003c/p>\n\u003cp>The second thing he tells me is the origin story of his artistic ability.\u003c/p>\n\u003cp>The first spark came when his mother’s friend, an Oakland fire captain, used to give Jamaica sketchbooks when he was elementary school aged, around the same time Jamaica used to hit hip-hop shows with his older brother and perform as a background dancer. His own creative impulse just needed to find the right canvas, is all.\u003c/p>\n\u003cfigure id=\"attachment_13835206\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13835206\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt.jpg\" alt=\"Jamaica the Artist painting at Lake Merritt.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/JamaicaLakeMerritt-520x345.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamaica the Artist painting at Lake Merritt. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I had some Bugle Boy jeans, and a yellow highlighter, I’ll never forget it,” says Jamaica. “I drew some shit on my pants, my mom saw that, and was like, ‘Boy, what the hell is wrong with you!?’” His mom properly punished him, and left him thinking, “I’m not drawing on anything else ever again in life.”\u003c/p>\n\u003cp>That lasted until one fateful night during the hyphy movement, when a group of his friends were about to perform, and needed some cool shirts made. He charged them $15 each, and created his business right then and there.\u003c/p>\n\u003cp>The business, however, was short-lived. He was soon arrested for charges related to a robbery and kidnapping; the incident happened just months after his first son was born.\u003c/p>\n\u003cp>After his release from prison, he was searching for work when, sure enough, a friend pulled up needing another shirt made. He got to work.\u003c/p>\n\u003cp>“Now I’m tearin’ stuff up when it comes to walls, shoes, canvases, clothes. And it’s like, damn, I got my ass whooped for this, and now I’m getting paid for this,” says Jamaica.\u003c/p>\n\u003cp>I ask the types of things he paints. “Shoes, shirts, walls, canvases, banners. Yeah, man, whatever you want, I’ll paint a car! Straight up, I’ll paint your house,” Jamaica says, rattling off the list without pausing for breath. “I’ve got to go finish my little cousin’s fireplace in a minute.”\u003c/p>\n\u003cfigure id=\"attachment_13835201\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835201\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Jamaica1-800x533.jpg\" alt=\"Jamaica the Artist in his deep East Oakland studio.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Jamaica1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jamaica the Artist in his deep East Oakland studio. \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\">J\u003c/span>amaica literally sleeps in his studio, which may not seem attractive to most, but it’s something he’s happy to do. “I’ve slept in trap houses with roaches, and rats, and heroin bundles, and coke addicts sleeping next to me,” Jamaica told me. “I feel good to be in an art studio I built from the ground up.”\u003c/p>\n\u003cp>And with support from his children’s mothers, his current girlfriend and his family, he manages to make sure his sons have more than he had as a child.\u003c/p>\n\u003cp>“I go back to the things that I didn’t like as a kid—did I even have the chance to say, ‘Daddy, I want them shoes?’” Jamaica reflects, noting that he grew up without his father. “It’s not like I get (my children) every pair of Jordans they want, but I make sure they have fresh clothes.”\u003c/p>\n\u003cp>He knows he’s not perfect. No parent is. Hell, no human is. With that in mind, his advice to his sons—Brandon Jr., Knowledge, Bomani, Sincere, Legend and another child due in September of this year—is almost perfection in verse:\u003c/p>\n\u003cp>“Stop following what your friends think is cool. I thought certain shit was cool, but it wasn’t. You can’t even claim your name if you aren’t living your truth.”\u003c/p>\n\u003cp>Jamaica continues, his fatherhood showing. “We live in a world where being you isn’t cool until you’re getting money for it. I always tell my sons to be the best you you can be. And then get paid for it!”\u003c/p>\n\u003cp>In other words: Go through it to get to it.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "nine-new-murals-to-see-in-oakland-this-summer",
"title": "Nine New Murals To See in Oakland This Summer",
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"content": "\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.google.com/maps/d/embed?mid=1RyJwtH-ua5rYKrDET0kKYSXgdfhyMUZ1\" width=\"640\" height=\"480\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\n",
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"excerpt": "Thanks to the Oakland Mural Fest, the Town now has even more public art to purview.",
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"title": "Nine New Murals To See in Oakland This Summer | KQED",
"description": "Thanks to the Oakland Mural Fest, the Town now has even more public art to purview.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After last month’s \u003ca href=\"http://bamfestival.boomity.com/home\" target=\"_blank\" rel=\"noopener\">Oakland Mural Festival\u003c/a>, Oakland’s already-rich street art scene gained nine more stunning surfaces coated with public art. KQED Arts takes you on a tour to find out more about the artists and inspirations behind the murals.\u003c/p>\n\u003cfigure id=\"attachment_13834332\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834332 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-7.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Turfin” mural featuring the likeness of turf dancer No Noiz aka Noh Justice by Lower Bottoms Collective as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Turfin”\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> a.k.a. Lower Bottoms Collective\u003c/b>\u003c/p>\n\u003cp>High above the train tracks on MLK and Embarcadero West, a turf dancer moves across a glowing Oakland skyline. Rocks quake under the weight of his steps and as he slides his way over massive concrete slabs and takes his first step right out of the frame.\u003c/p>\n\u003cp>“The mission of this was to represent authentic Oakland culture. We saw that possibility through turf dancing and showing that movement on the canvas,” explains James Shields, founder of Creative Shields and creator of the \u003ci>Hip Hop Coloring Book\u003c/i>. But why this mural, and why now?\u003c/p>\n\u003cp>“I feel like we have been losing the true authenticity in Oakland by having so many people come in and take over our equity out here—our space,” says Timothy B., an artist born and raised in Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The muse behind the mural is turf dancer Noh Justice (a.k.a. Nonoiz). When talking about his dance style, Noh Justice sums it up simply with what he calls “a hood ballet.” With turf dance, the creative process starts with anything around him: “Mainly our stories and our lives and things we don’t like to talk about.” It’s not the first mural he’s found himself starring in; he routinely (and proudly) points out another three Oakland walls to his kids.\u003c/p>\n\u003cp>The rocks floating around the dancer capture the force of his moves. “It shows he’s making an impact,” says Timothy, referencing the Hindu god Shiva, who destroys and recreates the world around him. “To me, he’s dancing for change. He’s making an impact and destroying his surroundings to create change for a new way of being.”\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram: \u003ca href=\"https://www.instagram.com/creativeshields/\" target=\"_blank\" rel=\"noopener\">@creativeshields\u003c/a>, \u003ca href=\"https://www.instagram.com/timothyb_art/\">@timothyb_art\u003c/a>, \u003ca href=\"https://www.instagram.com/chuckinglights/\" target=\"_blank\" rel=\"noopener\">@chuckinglights\u003c/a> and \u003ca href=\"https://www.instagram.com/berj.j.berj/\">@berj.j.berj\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834333\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834333\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg\" alt=\"\" width=\"800\" height=\"464\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-800x464.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-768x445.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-1020x591.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-960x556.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-240x139.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-375x217.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4-520x301.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-4.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists Jack and Alise Eastgate review their completed work ‘Warmer Waters’ on the final day of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Warmer Waters’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and 2nd\u003cbr>\n\u003ca href=\"http://www.aliseeastgate.com\" target=\"_blank\" rel=\"noopener\">Alise\u003c/a> and\u003ca href=\"http://www.jackeastgate.com\"> Jack\u003c/a> Eastgate\u003c/b>\u003c/p>\n\u003cp>Just blocks from the Jack London Inner Harbor, a little girl valiantly rides a whale moving westward. In \u003ci>Warmer Waters\u003c/i> (also known fondly as “Whale Rider”), artists Alise and Jack Eastgate play with movement across time and space. The whale reflects the presence of ancestors, while the little girl, adorned with symbols native to Fiji, stands between the present and future.\u003c/p>\n\u003cp>And their work is timely. Just days before completion, news broke of a beached whale found in the Jack London estuary. The industrialization of the oceans and the waning rights of people to freely move across borders inspire the Oakland-based muralists.\u003c/p>\n\u003cp>“A lot of things felt right about this wall,” says Alise. Located at 679 2nd Street, the two noted the serendipity of the address. 679 is the area code for Fiji, Jack’s birthplace, while the blooming magnolia tree just overhead brings a sense of nostalgia to Louisiana-born Alise.\u003c/p>\n\u003cp>\u003cem>Follow Alise & Jack Eastgate’s work on Instagram at \u003ca href=\"https://www.instagram.com/eastrandstudios/\">@eastrandstudios\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834334\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-6.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Know Your Ancestors’ by Mike “Bam” Tyau and Jesus Rodriguez overlooks Martin Luther King Way and 2nd Street near the Port of Oakland. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Know Your Ancestors’\u003c/h2>\n\u003cp>\u003cb>Martin Luther King Jr Way and Embarcadero West\u003cbr>\n\u003ca href=\"http://miketyau.com\" target=\"_blank\" rel=\"noopener\">Mike “Bam” Tyau\u003c/a> and \u003ca href=\"https://www.josedejesusrodriguez.com\" target=\"_blank\" rel=\"noopener\">Jesus Rodriguez\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In their latest collaboration, Mike “Bam” Tyau and Jesus Rodriguez pay vibrant homage to their roots. “Besides the Olmec and Chinese motifs as ancestral guardian totems, we painted these to remind people to go to their pillars of support during these trying times,” Mike wrote in an Instagram post at the end of the seven-day-long Oakland Mural Festival.\u003c/p>\n\u003cp>Foliage and mountains encompass two figures, references to the artists’ ancestral homelands. For Tyau, the leaves of the plants ground the composition with symbols pointing back to Mother Earth.\u003c/p>\n\u003cp>\u003cem>Follow Mike “Bam” Tyau and Jesus Rodriguez on Instagram at \u003ca href=\"https://www.instagram.com/miketyau/\" target=\"_blank\" rel=\"noopener\">@miketyau\u003c/a> and \u003ca href=\"https://www.instagram.com/ease_us/\" target=\"_blank\" rel=\"noopener\">@ease_us\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834338 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-10.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New work ‘Embassy of the Refugee’ by Caleb Duarte coming soon to Broadway and 2nd Street. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Embassy Of The Refugee’\u003c/h2>\n\u003cp>\u003cb>2nd and Broadway\u003cbr>\n\u003ca href=\"http://www.calebduarte.org/\" target=\"_blank\" rel=\"noopener\">Caleb Duarte\u003c/a> and Youth from Embassy of the Refugee Project\u003c/b>\u003c/p>\n\u003cp>“Our ability to create myth in order to understand certain realities; is what we do,” Duarte wrote on Instagram, under the image of his latest work. “Those of us with no political or economic power, exiles or displaced working people, turn to the creation of the ‘embassy of the refugee’… as a form of exercising a magical realism in order to thrive.”\u003c/p>\n\u003cp>Straddling a busy street that connects some of Oakland’s homeless encampments with million-dollar condos, Duarte’s silhouette of a figure pushing a shopping cart posits a powerful statement on the pursuit of finding “home.”\u003c/p>\n\u003cp>\u003cem>Follow Caleb Duarte on Instagram at \u003ca href=\"https://www.instagram.com/caleb_arte_/\" target=\"_blank\" rel=\"noopener\">@caleb_arte_\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834339\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834339\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-5.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trust Your Struggle collective unveiled their newest collaboration ‘Oakland Dreams’ as part of Oakland Mural Festival 2018. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Oakland Dreams’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://trustyourstruggle.com\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle Collective\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Two hands rise, palms open, up a wall. For the artists of Trust Your Struggle Collective, they simultaneously signify the power to hold on to, and reach for, your dreams.\u003c/p>\n\u003cp>Perhaps the most visually striking element of the collective’s mural are the two large words spanning the sun-soaked wall: “Oakland Dreams.” The second word pays homage to one of the founding members of the TDK (Those Damn Kids) aerosol collective, Mike “Dream” Francisco, who lost his life to gun violence in a senseless street robbery in 2000.\u003c/p>\n\u003cp>Images of flora and fauna run subtly throughout the mural. A lotus—a symbol often associated with transcendence—blooms from the sidewalk while a yellow hummingbird emerges from a red triangle glistening in the sun. Some interpretations of the hummingbird link back to the Aztec god Huitzilopochtli, a deity associated with the resurrection of a fallen warrior.\u003c/p>\n\u003cp>\u003cem>Follow Trust Your Struggle Collective on Instagram at \u003ca href=\"https://www.instagram.com/trustyourstrugglecollective/\" target=\"_blank\" rel=\"noopener\">@TrustYourStruggleCollective\u003c/a>, \u003ca href=\"https://www.instagram.com/erinyoshi/\" target=\"_blank\" rel=\"noopener\">@erinyoshi\u003c/a>, \u003ca href=\"https://www.instagram.com/nisha.k.sethi/\" target=\"_blank\" rel=\"noopener\">@Nisha.k.Sethi\u003c/a> and \u003ca href=\"https://www.instagram.com/misterbouncer/\" target=\"_blank\" rel=\"noopener\">@misterbouncer\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834340\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13834340 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-2.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This mural of a giant rooster and the symbol ‘Han’ by Dave Young Kim and Erik T Burke is imbued with the symbolism of resistance. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Han’\u003c/h2>\n\u003cp>\u003cb>3rd and Webster\u003cbr>\n\u003ca href=\"https://www.daveyoungkim.com/\" target=\"_blank\" rel=\"noopener\">Dave Young Kim\u003c/a> and \u003ca href=\"http://eriktburke.com\" target=\"_blank\" rel=\"noopener\">Erik Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Even though this mural revolves around just three core elements—a way-larger-than-life rooster, a Chinese character and a “rising sun”—Dave Young Kim and Erik Burke’s newest work is anything but simple.\u003c/p>\n\u003cp>“The rooster traditionally symbolizes tenaciousness, never giving up,” Kim shared in an Instagram post. And in the composition, the rooster reigns supreme in spite of the Chinese symbol “恨,” pronounced “han” in Korean, that towers over its head.\u003c/p>\n\u003cp>To Kim, the symbol represents a feeling that being downtrodden could be both a burden and a source of empowerment. “It could crush you, or you could rise up and fight til the end,” he says.\u003c/p>\n\u003cp>Fittingly, the mural also gives a nod to Jack London, the prolific author who spent most of his childhood frequenting the waterfront district that now bears his name. Instead of a sun, a circular frame depicts a lone figure in a snowy landscape, facing a radiant fire for warmth. It’s painted after a photograph Burke fixated on for a long time, inspired by a scene in London’s short story “To Build A Fire.”\u003c/p>\n\u003cp>Reflecting on \u003ci>Han\u003c/i>, Kim says he found his “mural soulmate” when working with Burke. They had plenty of time to bond in the two-and-a-half days of long working hours.\u003c/p>\n\u003cp>\u003cem>Follow Dave Young Kim and Erik Burke on Instagram at \u003ca href=\"https://www.instagram.com/daveyoungkim/\" target=\"_blank\" rel=\"noopener\">@daveyoungkim\u003c/a> and \u003ca href=\"https://www.instagram.com/ou35/\" target=\"_blank\" rel=\"noopener\">@ou35\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834341\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834341\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-3.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative work between Los Pobres Artistas muralist collective and students of Oakland International High School present two words ‘Earth’ and ‘Sanctuary.’ \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Sanctuary Earth’\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://lospobresartistas.com\" target=\"_blank\" rel=\"noopener\">Los Pobres Artists\u003c/a> and students from Oakland International High School\u003c/b>\u003c/p>\n\u003cp>Seven students and members of Los Pobres Artistas focused their creative energies on distilling images from the global refugee crisis. Sprawled across the right and the left sides of the mural are two words in all caps “EARTH” and “SANCTUARY.” At the center, giant hands support a raft filled with female refugees. In the foreground, schools of orange fish rise and fall as if to guide the raft safely to shore.\u003c/p>\n\u003cp>According to Los Pobres co-founder Thomas Jones, the mural stands for the idea that Earth can be a sanctuary for everybody.\u003c/p>\n\u003cp>\u003cem>Follow their work on Instagram \u003ca href=\"https://www.instagram.com/lospobresartistas/\" target=\"_blank\" rel=\"noopener\">@lospobresartistsas\u003c/a>, \u003ca href=\"https://www.instagram.com/hooperarts/\" target=\"_blank\" rel=\"noopener\">@hooperart\u003c/a>, \u003ca href=\"https://www.instagram.com/kilimunoz/\" target=\"_blank\" rel=\"noopener\">@kilimunoz\u003c/a>, \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado\u003c/a> and \u003ca href=\"https://www.instagram.com/thomasjones_m/\" target=\"_blank\" rel=\"noopener\">@thomasjones_m\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834342\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-15.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The unnamed work by Susan Green and Art Forces spans the back wall of SeaWolf Public House. \u003ccite>(Lina Blanco / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Unnamed\u003c/h2>\n\u003cp>\u003cb>4th and Webster\u003cbr>\n\u003ca href=\"http://susangreene.org/art-forces/\" target=\"_blank\" rel=\"noopener\">Susan Greene and Art Forces\u003c/a>\u003c/b>\u003c/p>\n\u003cp>Spanning the rear wall of Seawolf Public House, catch a golden-hued scene in which Cheemah, the “Mother of the Spirit-Fire” descends onto the Port of Oakland atop a giant eagle. Locals might instantly recognize the figure from a bronze statue placed in Jack London Square. Originally sculpted by Osprey Orielle Lake, the mythic being stands for “cultural diversity, world unity and care for the earth.”\u003c/p>\n\u003cp>And while the moment might look idyllic, a somewhat menacing clue stands out in the foreground. Two ships, halfway to shore, allude to the terrible reality of a colonized past.\u003c/p>\n\u003cp>\u003cem>Follow them on Instagram at \u003ca href=\"https://www.instagram.com/artforces/\" target=\"_blank\" rel=\"noopener\">@artforces\u003c/a>, \u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>, \u003ca href=\"https://www.instagram.com/maxallbee/\" target=\"_blank\" rel=\"noopener\">@maxallbee\u003c/a>, \u003ca href=\"https://www.instagram.com/francolafresh/\" target=\"_blank\" rel=\"noopener\">@francolafresh\u003c/a>.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13834343\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834343\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/OakMural-13.jpg 1080w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A tribute to Oakland’s elders and youth in one sprawling work by David Burke and friends.\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Love Letter To Oakland’\u003c/h2>\n\u003cp>\u003cb>4th and Oak\u003cbr>\n\u003ca href=\"http://www.dburke.org/\">David Burke\u003c/a>\u003c/b>\u003c/p>\n\u003cp>In the photo-realistic \u003ci>A Love Letter to Oakland\u003c/i>, Burke and his collaborators bridge two generations. On the left, two Oakland artists, Tureeda Mikell and James Gayles, reach out across the downtown Oakland skyline toward two emerging local heroes — well-known muralist DJ Agana and youth activist Samuel Getachew. Between them, a glow lights their faces.\u003c/p>\n\u003cp>A satellite view of Oakland streets extends across the concrete canvas like roots—an enduring symbol of the city. In an interview with the \u003cem>East Bay Express\u003c/em>, Burke calls out the importance of the festival that allowed for his most recent collaboration: “[The mural] becomes part of their collective experience,” Burke said, “and must reflect the stories, the diversity, the values and the histories of that community.”\u003c/p>\n\u003cp>\u003cem>Follow David Burke and his collaborators on Instagram at \u003ca href=\"https://www.instagram.com/davidburke_studio/\" target=\"_blank\" rel=\"noopener\">@DavidBurke_Studio\u003c/a>, \u003ca href=\"https://www.instagram.com/joevicyeban/\" target=\"_blank\" rel=\"noopener\">@joevicyeban\u003c/a>, \u003ca href=\"https://www.instagram.com/dorias_brannon/\" target=\"_blank\" rel=\"noopener\">@dorias_brannon\u003c/a>, \u003ca href=\"https://www.instagram.com/blacksphinxofquartz/\" target=\"_blank\" rel=\"noopener\">@blacksphinxofquartz\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cb>To make seeing these beautiful works easier, here’s a map to all the locations:\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he amount of reptiles inside of Scid Howard’s house outnumber the human residents five-to-one.\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>He has geckos, salamanders, blue belly lizards and snakes: a king snake, a couple ring-necked snakes, and even a rattlesnake that he caught and domesticated. Like, with his bare hands.\u003c/p>\n\u003cp>Howard isn’t a zoologist, nor a wildlife preservationist. He’s just a guy from East Oakland who’s always had an affinity for wildlife.\u003c/p>\n\u003cp>The plastic toy animals that his mother bought for him when he was a kid were seeds sewn into his heart, and they’ve now sprouted into his full-blown passion. He has glass cages and large plastic cases that house all kinds of animals, some caught in the wild and some store-bought.\u003c/p>\n\u003cfigure id=\"attachment_13833989\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833989\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Howard.Rattler-800x1162.jpg\" alt=\"A snake at Scid Howard's house.\" width=\"800\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-768x1116.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-375x545.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-520x755.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A snake at Scid Howard’s house. \u003ccite>(Courtesy Scid Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a breeding colony,” Howard told me as he opened one of the cases. “I’ve got three different animals in here: snakes, salamanders, and tarantulas.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Tarantulas?! Like, spiders?” I uttered.\u003c/p>\n\u003cp>“Yeah, you want to see one?” he calmly retorted.\u003c/p>\n\u003cp>“Hell yeah, I want to see one; I don’t want to hold one, though,” I said, still a little startled.\u003c/p>\n\u003cp>“Na, you don’t want to hold these,” he cautioned. “They’re venomous and they will attack.”\u003c/p>\n\u003cp>Dumbfounded, I said, “Why do you have tarantulas in your house if they’re venomous?”\u003c/p>\n\u003cp>He nonchalantly replied, “I’ve got a rattlesnake over there. I like venomous animals, I’ve always had a thing for…”\u003c/p>\n\u003cp>“Living on the wild side,” I finished his sentence for him.\u003c/p>\n\u003cp>I asked him about the leaves and shrubbery, “Where’d you get this?” He said, “It’s all from outside. I tried to make it look like what you see in the Oakland Hills; people walk past this stuff all the time and don’t know that it’s full of snakes.”\u003c/p>\n\u003cp>He went back to poking through the large container of reptiles and arachnids, and said, “Yeah, these all came from Oakland, bruh. Right here, up Keller Road.”\u003c/p>\n\u003cp>And in the very next sentence, he casually told me, “Right now I’m in the process of looking for a mountain lion, so I can record it.”\u003c/p>\n\u003cp>And that’s Scid Howard in a handbag. Snakes, spiders and mountain lions—oh my.\u003c/p>\n\u003cfigure id=\"attachment_13833988\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833988\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Howard.Daughter.jpg\" alt=\"Scid Howard with his daughter, on the trail.\" width=\"1100\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-520x390.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Scid Howard with his daughter, on the trail. \u003ccite>(Courtesy Scid Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’m fascinated with Howard’s story because he’s an African American man from the ‘hood who loves the great outdoors; and he’s not the only one. While the popular narrative that people of color, specifically African Americans, don’t like the outdoors is slowly being chipped away through organizations like OutdoorAfro and Facebook groups dedicated to POC hikes, my guy Scid takes it to the next level. He eclipses the narrative that we don’t like hiking, camping, getting in tune with nature. He toes the line of being a Dr. Doolittle / Crocodile Hunter type—and he does it all with a gold-toothed smile and locs as long as some of the snakes he owns.\u003c/p>\n\u003cp>He’s a real East Oakland kid. He’s been to sideshows, had run-ins with the law, and has lost close friends to gun violence; one even died in his arms.\u003c/p>\n\u003cp>It’s this pain that he exorcises in the great outdoors.\u003c/p>\n\u003cp>“All that stress: your homeboy getting shot, the police harassing you, racism, all of that shit goes out the door when you’re in the woods, bruh, because it’s so quiet.” He took a seat in his vivarium-styled living room, and continued to talk. “All you hear is the trees and the animals. And then you start to make connections. People think I’m crazy, but I’m starting to make more connections with animals.”\u003c/p>\n\u003cp>There \u003cem>are\u003c/em> some people who think he’s slightly off his rocker. When I told a friend I was doing a story on him, they referred to him as “Father Nature.”\u003c/p>\n\u003cp>Yet people are fascinated by his deep appreciation for the wildlife native to the East Bay; his \u003ca href=\"https://www.instagram.com/flyking45/\" target=\"_blank\" rel=\"noopener noreferrer\">20,000 followers on Instagram\u003c/a> are evidence of that. In his videos, he lifts logs looking for snakes, and films families of bobcats.\u003c/p>\n\u003cp>“Why aren’t you scared?” I asked him.\u003c/p>\n\u003cp>“Because I’m the number-one predator,” he said, without hesitation. “I’m from Oakland, we’re dodging bullets. Think I’m going to be scared of a damn wildcat?”\u003c/p>\n\u003cfigure id=\"attachment_13833990\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Howard.Trail_.jpg\" alt=\"Scid Howard sees the life in East Oakland others overlook.\" width=\"1100\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-150x150.jpg 150w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Scid Howard sees the life in East Oakland others overlook. \u003ccite>(Courtesy Scid Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>y exploring nature and using green spaces for mental health purposes, Howard is a prime example of why the June 5 vote on Proposition 68 is important. Among other things, if passed, the ballot measure would grant $200 million toward local parks (on a per-capita basis), allocate $725 million to park poor neighborhoods and grant $218 million toward improving public access to parks.\u003c/p>\n\u003cp>Howard, whose favorite park is Redwood Heights, where he says he has secret spots (and has discovered some ancient Native American ruins), is in favor of funding the upkeep and improvement of local parks.\u003c/p>\n\u003cp>He’s also a big proponent of exposing young students of color to the benefits of indulgence in nature, as he wants to develop curriculum and speak at schools in the near future.\u003c/p>\n\u003cp>With each adventure, Scid dispels myths and inspires those who tune into his wildlife channel on social media and \u003ca href=\"https://www.youtube.com/user/mandingo45boy\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>.\u003c/p>\n\u003cp>At his house, before I left, he told me, “They assume Oakland is all about sideshows, pimping, hustling, selling dope, smoking weed, going to the clubs… we’re always stereotyped to be a certain way. But we are all talented in our own ways. I happen to know nature very well… I’ve found my purpose. I can’t see myself doing anything else.”\u003c/p>\n\u003cp>He then stepped outside with me into the neighborhood, the flatlands of Deep East Oakland. As we got closer to my car, he couldn’t help but to point to a grassy hill above 82nd Boulevard and say, “There’s all \u003cem>kinds\u003c/em> of alligator lizards up there.”\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\">T\u003c/span>he amount of reptiles inside of Scid Howard’s house outnumber the human residents five-to-one.\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>He has geckos, salamanders, blue belly lizards and snakes: a king snake, a couple ring-necked snakes, and even a rattlesnake that he caught and domesticated. Like, with his bare hands.\u003c/p>\n\u003cp>Howard isn’t a zoologist, nor a wildlife preservationist. He’s just a guy from East Oakland who’s always had an affinity for wildlife.\u003c/p>\n\u003cp>The plastic toy animals that his mother bought for him when he was a kid were seeds sewn into his heart, and they’ve now sprouted into his full-blown passion. He has glass cages and large plastic cases that house all kinds of animals, some caught in the wild and some store-bought.\u003c/p>\n\u003cfigure id=\"attachment_13833989\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833989\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Howard.Rattler-800x1162.jpg\" alt=\"A snake at Scid Howard's house.\" width=\"800\" height=\"1162\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-768x1116.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-240x349.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-375x545.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Rattler-520x755.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A snake at Scid Howard’s house. \u003ccite>(Courtesy Scid Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This is a breeding colony,” Howard told me as he opened one of the cases. “I’ve got three different animals in here: snakes, salamanders, and tarantulas.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Tarantulas?! Like, spiders?” I uttered.\u003c/p>\n\u003cp>“Yeah, you want to see one?” he calmly retorted.\u003c/p>\n\u003cp>“Hell yeah, I want to see one; I don’t want to hold one, though,” I said, still a little startled.\u003c/p>\n\u003cp>“Na, you don’t want to hold these,” he cautioned. “They’re venomous and they will attack.”\u003c/p>\n\u003cp>Dumbfounded, I said, “Why do you have tarantulas in your house if they’re venomous?”\u003c/p>\n\u003cp>He nonchalantly replied, “I’ve got a rattlesnake over there. I like venomous animals, I’ve always had a thing for…”\u003c/p>\n\u003cp>“Living on the wild side,” I finished his sentence for him.\u003c/p>\n\u003cp>I asked him about the leaves and shrubbery, “Where’d you get this?” He said, “It’s all from outside. I tried to make it look like what you see in the Oakland Hills; people walk past this stuff all the time and don’t know that it’s full of snakes.”\u003c/p>\n\u003cp>He went back to poking through the large container of reptiles and arachnids, and said, “Yeah, these all came from Oakland, bruh. Right here, up Keller Road.”\u003c/p>\n\u003cp>And in the very next sentence, he casually told me, “Right now I’m in the process of looking for a mountain lion, so I can record it.”\u003c/p>\n\u003cp>And that’s Scid Howard in a handbag. Snakes, spiders and mountain lions—oh my.\u003c/p>\n\u003cfigure id=\"attachment_13833988\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833988\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Howard.Daughter.jpg\" alt=\"Scid Howard with his daughter, on the trail.\" width=\"1100\" height=\"824\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Daughter-520x390.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Scid Howard with his daughter, on the trail. \u003ccite>(Courtesy Scid Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>’m fascinated with Howard’s story because he’s an African American man from the ‘hood who loves the great outdoors; and he’s not the only one. While the popular narrative that people of color, specifically African Americans, don’t like the outdoors is slowly being chipped away through organizations like OutdoorAfro and Facebook groups dedicated to POC hikes, my guy Scid takes it to the next level. He eclipses the narrative that we don’t like hiking, camping, getting in tune with nature. He toes the line of being a Dr. Doolittle / Crocodile Hunter type—and he does it all with a gold-toothed smile and locs as long as some of the snakes he owns.\u003c/p>\n\u003cp>He’s a real East Oakland kid. He’s been to sideshows, had run-ins with the law, and has lost close friends to gun violence; one even died in his arms.\u003c/p>\n\u003cp>It’s this pain that he exorcises in the great outdoors.\u003c/p>\n\u003cp>“All that stress: your homeboy getting shot, the police harassing you, racism, all of that shit goes out the door when you’re in the woods, bruh, because it’s so quiet.” He took a seat in his vivarium-styled living room, and continued to talk. “All you hear is the trees and the animals. And then you start to make connections. People think I’m crazy, but I’m starting to make more connections with animals.”\u003c/p>\n\u003cp>There \u003cem>are\u003c/em> some people who think he’s slightly off his rocker. When I told a friend I was doing a story on him, they referred to him as “Father Nature.”\u003c/p>\n\u003cp>Yet people are fascinated by his deep appreciation for the wildlife native to the East Bay; his \u003ca href=\"https://www.instagram.com/flyking45/\" target=\"_blank\" rel=\"noopener noreferrer\">20,000 followers on Instagram\u003c/a> are evidence of that. In his videos, he lifts logs looking for snakes, and films families of bobcats.\u003c/p>\n\u003cp>“Why aren’t you scared?” I asked him.\u003c/p>\n\u003cp>“Because I’m the number-one predator,” he said, without hesitation. “I’m from Oakland, we’re dodging bullets. Think I’m going to be scared of a damn wildcat?”\u003c/p>\n\u003cfigure id=\"attachment_13833990\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13833990\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/Howard.Trail_.jpg\" alt=\"Scid Howard sees the life in East Oakland others overlook.\" width=\"1100\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/Howard.Trail_-150x150.jpg 150w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Scid Howard sees the life in East Oakland others overlook. \u003ccite>(Courtesy Scid Howard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>y exploring nature and using green spaces for mental health purposes, Howard is a prime example of why the June 5 vote on Proposition 68 is important. Among other things, if passed, the ballot measure would grant $200 million toward local parks (on a per-capita basis), allocate $725 million to park poor neighborhoods and grant $218 million toward improving public access to parks.\u003c/p>\n\u003cp>Howard, whose favorite park is Redwood Heights, where he says he has secret spots (and has discovered some ancient Native American ruins), is in favor of funding the upkeep and improvement of local parks.\u003c/p>\n\u003cp>He’s also a big proponent of exposing young students of color to the benefits of indulgence in nature, as he wants to develop curriculum and speak at schools in the near future.\u003c/p>\n\u003cp>With each adventure, Scid dispels myths and inspires those who tune into his wildlife channel on social media and \u003ca href=\"https://www.youtube.com/user/mandingo45boy\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a>.\u003c/p>\n\u003cp>At his house, before I left, he told me, “They assume Oakland is all about sideshows, pimping, hustling, selling dope, smoking weed, going to the clubs… we’re always stereotyped to be a certain way. But we are all talented in our own ways. I happen to know nature very well… I’ve found my purpose. I can’t see myself doing anything else.”\u003c/p>\n\u003cp>He then stepped outside with me into the neighborhood, the flatlands of Deep East Oakland. As we got closer to my car, he couldn’t help but to point to a grassy hill above 82nd Boulevard and say, “There’s all \u003cem>kinds\u003c/em> of alligator lizards up there.”\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>Dance in Oakland might be synonymous with homegrown street styles like turfing, but the city’s creative spirit attracts people from all walks of life, and they, in turn, help shape its artistic culture.\u003c/p>\n\u003cp>Dancer Frankie Lee Peterson III moved to Oakland in 2014, inspired by the Town’s history of “a more artistic foundation for the African-American community, and all types of people fighting for each other.”\u003c/p>\n\u003cp>Since laying down his roots in the East Bay, Peterson says he has thrived professionally and personally. He’s taught at New Style Motherlode; performed with the Oakland Ballet and at the Black Choreographers Festival; and launched his personal brand .fLEE dance.\u003c/p>\n\u003cp>His distinctly poetic performances combine an array of contemporary and traditional influences, including house dance, African dance and liturgical dance, which is a form of praise dance done in church. “Oakland is totally different than any place that I’ve been,” says Peterson. “Love is just a big factor. Through my dance, I totally want to keep energizing this place.”\u003c/p>\n\u003cp>Spirituality plays a big role in Peterson’s relationship with dance, and his belief in God is the inspiration for his liberatory movements. In the video, he opens up about how dance helped him move through some personal traumas. “I want people to, when they see my dance, to be like, ‘Okay, he says he gave up on himself and now look at him,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch as Peterson leaps, twirls and pirouettes in front of an \u003ca href=\"http://oaklandmuralproject.com\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Superheroes Mural, \u003c/a>outside the historic Fox Theater, and by \u003ca href=\"http://www.remember-them.org\" target=\"_blank\" rel=\"noopener noreferrer\">the Remember Them: Champions for Humanity Monument\u003c/a>, which pays homage to important figures like Maya Angelou, Frederick Douglass and Malcolm X. — \u003cem>Text by Nastia Voynovskaya \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dance in Oakland might be synonymous with homegrown street styles like turfing, but the city’s creative spirit attracts people from all walks of life, and they, in turn, help shape its artistic culture.\u003c/p>\n\u003cp>Dancer Frankie Lee Peterson III moved to Oakland in 2014, inspired by the Town’s history of “a more artistic foundation for the African-American community, and all types of people fighting for each other.”\u003c/p>\n\u003cp>Since laying down his roots in the East Bay, Peterson says he has thrived professionally and personally. He’s taught at New Style Motherlode; performed with the Oakland Ballet and at the Black Choreographers Festival; and launched his personal brand .fLEE dance.\u003c/p>\n\u003cp>His distinctly poetic performances combine an array of contemporary and traditional influences, including house dance, African dance and liturgical dance, which is a form of praise dance done in church. “Oakland is totally different than any place that I’ve been,” says Peterson. “Love is just a big factor. Through my dance, I totally want to keep energizing this place.”\u003c/p>\n\u003cp>Spirituality plays a big role in Peterson’s relationship with dance, and his belief in God is the inspiration for his liberatory movements. In the video, he opens up about how dance helped him move through some personal traumas. “I want people to, when they see my dance, to be like, ‘Okay, he says he gave up on himself and now look at him,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch as Peterson leaps, twirls and pirouettes in front of an \u003ca href=\"http://oaklandmuralproject.com\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Superheroes Mural, \u003c/a>outside the historic Fox Theater, and by \u003ca href=\"http://www.remember-them.org\" target=\"_blank\" rel=\"noopener noreferrer\">the Remember Them: Champions for Humanity Monument\u003c/a>, which pays homage to important figures like Maya Angelou, Frederick Douglass and Malcolm X. — \u003cem>Text by Nastia Voynovskaya \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Let’s take a trip back into history, long ago, when MTV actually showed music videos. \u003c/p>\n\u003cp>Or rather, let’s take a trip to the New Parkway in Oakland, where they’re bringing back Kurt Loder vibes with a music video extravaganza—the fourth annual OutofFocus Video Music Fest, with music videos, animations and shorts produced by local artists. (Last year’s fest included work from local bands like Shannon and the Clams, the Younger Lovers, and Carletta Sue Kay.)\u003c/p>\n\u003cp>To top it off, at the end of the evening, the audience has the chance to select the 2018 Audience Choice Award. It’s basically the Oakland VMAs.\u003c/p>\n\u003cp>\u003cem>The Fourth Annual OutofFocus Music Video Fest gets underway Wednesday, May 30, at the New Parkway in Oakland. \u003ca href=\"http://outoffocus.tv/2018/04/17/focus-music-video-fest-2018/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\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>Let’s take a trip back into history, long ago, when MTV actually showed music videos. \u003c/p>\n\u003cp>Or rather, let’s take a trip to the New Parkway in Oakland, where they’re bringing back Kurt Loder vibes with a music video extravaganza—the fourth annual OutofFocus Video Music Fest, with music videos, animations and shorts produced by local artists. (Last year’s fest included work from local bands like Shannon and the Clams, the Younger Lovers, and Carletta Sue Kay.)\u003c/p>\n\u003cp>To top it off, at the end of the evening, the audience has the chance to select the 2018 Audience Choice Award. It’s basically the Oakland VMAs.\u003c/p>\n\u003cp>\u003cem>The Fourth Annual OutofFocus Music Video Fest gets underway Wednesday, May 30, at the New Parkway in Oakland. \u003ca href=\"http://outoffocus.tv/2018/04/17/focus-music-video-fest-2018/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the Bay Area, art is all around you; it’s simply a matter of knowing where to look. While galleries and museums rightfully boast about their \u003ca href=\"https://www.kqed.org/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there\" target=\"_blank\" rel=\"noopener\">summer shows\u003c/a>, you don’t necessarily have to step foot in a gallery in order to see (and shoot) some impressive art.\u003c/p>\n\u003cp>From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art in the Bay Area.\u003c/p>\n\u003chr>\n\u003ch3>Calle 24 Latino Cultural District\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.sfmuralarts.com/neighborhood/mission/2.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/BY3zCMuDZ9r/\u003c/p>\n\u003cp>We’d be remiss if we didn’t start in the heart of San Francisco’s longstanding \u003cem>muralista\u003c/em> community for our public art round-up. The Mission District murals—particularly along 24th Street and the Latino Cultural District—serve as San Francisco’s cultural archivists. As recent threats attempt to censor, destroy and literally \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" target=\"_blank\" rel=\"noopener\">whitewash\u003c/a> some of the Mission’s iconic murals, exciting new movements within the community resist with paintbrushes, spray cans and creativity. Keep your eyes peeled for the work of \u003ca href=\"http://www.sfmuralarts.com/artist/precita-eyes/17.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/mel-waters/388.html\" target=\"_blank\" rel=\"noopener\">Mel Waters\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/laura-campos/8.html\" target=\"_blank\" rel=\"noopener\">Laura Campos\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/eli-lippert/415.html\" target=\"_blank\" rel=\"noopener\">Eli Lippert\u003c/a> and \u003ca href=\"http://www.sfmuralarts.com/artist/marina-perez-wong/95.html\" target=\"_blank\" rel=\"noopener\">Marina Perez-Wong\u003c/a>.\u003c/p>\n\u003cp>Photo of “Once Upon A Time in The Mission” by \u003ca href=\"https://www.instagram.com/precitaeyes/\" target=\"_blank\" rel=\"noopener\">Precita Eyes, \u003c/a>\u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>,\u003ca href=\"https://www.instagram.com/fouronefever/\" target=\"_blank\" rel=\"noopener\"> @fouronefever\u003c/a>, \u003ca href=\"https://www.instagram.com/cheph415/\" target=\"_blank\" rel=\"noopener\">@cheph415\u003c/a>, \u003ca href=\"https://www.instagram.com/dref415/\" target=\"_blank\" rel=\"noopener\">@dref415\u003c/a>, and \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado. \u003c/a>\u003c/p>\n\u003chr>\n\u003ch3>San Jose’s Japantown Art Walk\u003c/h3>\n\u003ch3>\u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h3>\n\u003cp>https://www.instagram.com/p/BqxugAhHGmU/\u003c/p>\n\u003cp>Spend any time in San Jose’s Japantown, and you’ll find yourself transported to a world of massive murals painted by the\u003ca href=\"https://www.kqed.org/arts/12899918/brightening-san-joses-japantown-one-mural-at-a-time\" target=\"_blank\" rel=\"noopener\"> Empire Seven\u003c/a> muralist crew. Founded in 2008 by Juan Carlos Araujo and Jennifer Ahn, Empire Seven and its gallery Empire Seven Studios take art into public places, creating new murals inspired by the city’s past, present and future. For them, community revitalization and beautification happens from the ground up, working with shop owners block-by-block throughout the neighborhood. Though their work is beloved by the public, street artists and muralists are no strangers to having their work defaced. Recently, Bay Area artist Jose Meza Velazquez \u003ca href=\"https://www.kqed.org/arts/13845793/walkabout-san-joses-chicano-murals\" target=\"_blank\" rel=\"noopener\">filed a lawsuit\u003c/a> against a real estate developer who painted over his iconic \u003cem>Mural de la Raza.\u003c/em> Now is a critical time to document San Jose’s murals and support the next generation of mural-makers.\u003c/p>\n\u003cp>You can follow a map of the Japantown murals with \u003ca href=\"https://www.codeforsanjose.com/heartofthevalley/\" target=\"_blank\" rel=\"noopener\">this interactive map\u003c/a> made possible by\u003ca href=\"https://www.yanyinchoy.com/\" target=\"_blank\" rel=\"noopener\"> Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com/\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>SoMa Street Art\u003c/h3>\n\u003cp>https://www.instagram.com/p/BbfsUhTBoMZ/\u003c/p>\n\u003cp>Ground zero for much of the city’s tech chaos, SoMa maintains its creative energy with new work from both local and international artists. Keep your eyes peeled for jaw-dropping blooms by\u003ca href=\"https://www.instagram.com/jetmar1/\" target=\"_blank\" rel=\"noopener\"> Jet Martinez\u003c/a>, vivid sheroes by \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">Agana\u003c/a>, monochromatic musings of \u003ca href=\"https://www.instagram.com/zioziegler/\" target=\"_blank\" rel=\"noopener\">Zio Ziegler\u003c/a>, and portraits of resistance by \u003ca href=\"https://www.instagram.com/jessicasabogal/\" target=\"_blank\" rel=\"noopener\">Jess Sabogal\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>‘Free To See’ at San Francisco Museum of Modern Art\u003c/h3>\n\u003ch4>\u003ca href=\"https://www.sfmoma.org/visit/free-to-see/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/Bx3FnWOIh3A/\u003c/p>\n\u003cp>The secret’s out. From coral red bathrooms to five floors of rotating exhibitions, SFMOMA has solidified its reputation as an Instagrammer’s paradise. But while many patrons breeze by the first two floors in a rush up to the \u003ca href=\"https://www.kqed.org/arts/13832153/choose-your-own-adventure-the-summer-art-show-edition\" target=\"_blank\" rel=\"noopener\">hottest new shows\u003c/a>, they miss an art-filled playground for a photographer with a keen eye. High above the grand staircase at the museum’s third street entrance, you can stand face-to-face with the \u003ca href=\"http://sfist.com/2017/08/24/video_sfmoma_installs_largest_paint.php\" target=\"_blank\" rel=\"noopener\">first-largest painting\u003c/a> ever installed since the museum re-opened: an 80-foot-long, 20-foot-high, \u003ca href=\"https://www.sfmoma.org/exhibition/julie-mehretu-HOWL-eon-I-II\" target=\"_blank\" rel=\"noopener\">two-panel mural\u003c/a> by Julie Mehretu. Then meet a thousand—1,206 to be exact—San Franciscans and hear their stories in JR’s interactive video mural \u003cem>The Chronicles of San Francisco.\u003c/em> And on your way out, don’t overlook the vibrant \u003cem>Play Sculpture\u003c/em> by Isamu Noguchi.\u003c/p>\n\u003chr>\n\u003ch3>Diego Rivera’s Hidden San Francisco Murals\u003c/h3>\n\u003cp>https://www.instagram.com/p/ti30yuwa0J/\u003c/p>\n\u003cp>There’s no need to jet-set off to an international destination to get a slice of art history because San Francisco houses three hidden murals painted by the iconic Mexican muralist Diego Rivera. Tucked away in the Diego Rivera Theatre lobby at City College of San Francisco stands the massive \u003cem>Pan American Unity Mural\u003c/em> — the largest mural Rivera ever created. By 2020, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Diego-Rivera-mural-masterpiece-to-be-exhibited-in-12443281.php\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> will move the 10-panel work into a free streetside gallery as the centerpiece of an exhibition dedicated to the legendary artist. The sheer scale and history of all three works are bound to satiate any art-hungry photographer.\u003c/p>\n\u003cp>\u003cem>Visit Rivera’s ‘The Making of a Fresco Showing the Building of a City’ at the \u003ca href=\"http://sfai.edu/about-sfai/diego-rivera-mural\" target=\"_blank\" rel=\"noopener\">San Francisco Art Institute\u003c/a> and ‘Allegory of California’ at \u003ca href=\"https://cityclubsf.com/\">City Club of San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Murals of Oakland: Downtown and Jack London District\u003c/h3>\n\u003ch4>\u003ca href=\"http://bamfest.org/oakland-mural-festival-map\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/Bi52uVQH198/\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13824746/young-oakland-superheroes-fight-for-their-mural\">Oakland heroes\u003c/a> and \u003ca href=\"https://localwiki.org/oakland/Girl_Mobb_Super_Wall\" target=\"_blank\" rel=\"noopener\">heroines\u003c/a> emerge from under overpasses and brighten concrete corners of The Town. Themes of representation, resistance and beauty can be found spanning across sidewalks all over Oakland, providing momentary respite from the realities of its \u003ca href=\"http://www.governing.com/gov-data/oakland-gentrification-maps-demographic-data.html\" target=\"_blank\" rel=\"noopener\">ongoing gentrification\u003c/a>. Spend an afternoon perusing the (arguably) \u003ca href=\"https://localwiki.org/oakland/Murals\">largest list of Oakland’s street art\u003c/a> maintained by Oakland Wiki, or take a walking tour of some of Oakland’s newest murals by featuring the work of \u003ca href=\"http://lospobresartistas.com/\" target=\"_blank\" rel=\"noopener\">Los Pobres Artistas\u003c/a>, \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle\u003c/a>, \u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> Creators Gone Create and \u003ca href=\"http://bamfest.org/home#fundraiser\" target=\"_blank\" rel=\"noopener\">others\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>di Rosa’s Sculpture Garden\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\">More Information\u003c/a>\u003c/h4>\n\u003cp>https://www.instagram.com/p/BZZUbJuneyA/\u003c/p>\n\u003cp>With over dozens of objects along a long trail on the rolling hills of wine country, \u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\" target=\"_blank\" rel=\"noopener\">di Rosa’s Outdoor Sculpture Tour \u003c/a>surprises the eager photographer at every turn. Mark di Suvero’s \u003ca href=\"https://www.sculpture.org/documents/parksdir/p&g/dirosa/dirosa6.shtml\" target=\"_blank\" rel=\"noopener\">\u003cem>For Veroniva\u003c/em>\u003c/a> rises like a rubescent monument, while Gordon Huether’s aluminum \u003ca href=\"https://www.gordonhuether.com/aluminum-yucca\" target=\"_blank\" rel=\"noopener\">\u003cem>Yucca\u003c/em>\u003c/a> cuts through the soil like an offering to supernatural beings. And full disclosure, the di Rosa Outdoor Sculpture Tour isn’t quite “free, public art,” but supporting an arts organization that \u003ca href=\"https://www.kqed.org/arts/13815773/the-di-rosa-embraces-community-after-a-brush-with-disaster\" target=\"_blank\" rel=\"noopener\">served as a refuge\u003c/a> for the community after the North Bay fires should be considered $18 well spent.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the Bay Area, art is all around you; it’s simply a matter of knowing where to look. While galleries and museums rightfully boast about their \u003ca href=\"https://www.kqed.org/arts/13857445/andy-warhol-sfmoma-see-what-we-did-there\" target=\"_blank\" rel=\"noopener\">summer shows\u003c/a>, you don’t necessarily have to step foot in a gallery in order to see (and shoot) some impressive art.\u003c/p>\n\u003cp>From the iconic masterworks to hidden gems, here’s your guide to snapping the best public art in the Bay Area.\u003c/p>\n\u003chr>\n\u003ch3>Calle 24 Latino Cultural District\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.sfmuralarts.com/neighborhood/mission/2.html\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’d be remiss if we didn’t start in the heart of San Francisco’s longstanding \u003cem>muralista\u003c/em> community for our public art round-up. The Mission District murals—particularly along 24th Street and the Latino Cultural District—serve as San Francisco’s cultural archivists. As recent threats attempt to censor, destroy and literally \u003ca href=\"https://missionlocal.org/2017/06/missions-culture-not-for-sale-but-it-can-be-painted-over/\" target=\"_blank\" rel=\"noopener\">whitewash\u003c/a> some of the Mission’s iconic murals, exciting new movements within the community resist with paintbrushes, spray cans and creativity. Keep your eyes peeled for the work of \u003ca href=\"http://www.sfmuralarts.com/artist/precita-eyes/17.html\" target=\"_blank\" rel=\"noopener\">Precita Eyes Muralists\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/mel-waters/388.html\" target=\"_blank\" rel=\"noopener\">Mel Waters\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/laura-campos/8.html\" target=\"_blank\" rel=\"noopener\">Laura Campos\u003c/a>, \u003ca href=\"http://www.sfmuralarts.com/artist/eli-lippert/415.html\" target=\"_blank\" rel=\"noopener\">Eli Lippert\u003c/a> and \u003ca href=\"http://www.sfmuralarts.com/artist/marina-perez-wong/95.html\" target=\"_blank\" rel=\"noopener\">Marina Perez-Wong\u003c/a>.\u003c/p>\n\u003cp>Photo of “Once Upon A Time in The Mission” by \u003ca href=\"https://www.instagram.com/precitaeyes/\" target=\"_blank\" rel=\"noopener\">Precita Eyes, \u003c/a>\u003ca href=\"https://www.instagram.com/_attril/\" target=\"_blank\" rel=\"noopener\">@_attril\u003c/a>,\u003ca href=\"https://www.instagram.com/fouronefever/\" target=\"_blank\" rel=\"noopener\"> @fouronefever\u003c/a>, \u003ca href=\"https://www.instagram.com/cheph415/\" target=\"_blank\" rel=\"noopener\">@cheph415\u003c/a>, \u003ca href=\"https://www.instagram.com/dref415/\" target=\"_blank\" rel=\"noopener\">@dref415\u003c/a>, and \u003ca href=\"https://www.instagram.com/frederickoalvarado/\" target=\"_blank\" rel=\"noopener\">@frederickoalvarado. \u003c/a>\u003c/p>\n\u003chr>\n\u003ch3>San Jose’s Japantown Art Walk\u003c/h3>\n\u003ch3>\u003ca href=\"http://www.codeforsanjose.com/heartofthevalley\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spend any time in San Jose’s Japantown, and you’ll find yourself transported to a world of massive murals painted by the\u003ca href=\"https://www.kqed.org/arts/12899918/brightening-san-joses-japantown-one-mural-at-a-time\" target=\"_blank\" rel=\"noopener\"> Empire Seven\u003c/a> muralist crew. Founded in 2008 by Juan Carlos Araujo and Jennifer Ahn, Empire Seven and its gallery Empire Seven Studios take art into public places, creating new murals inspired by the city’s past, present and future. For them, community revitalization and beautification happens from the ground up, working with shop owners block-by-block throughout the neighborhood. Though their work is beloved by the public, street artists and muralists are no strangers to having their work defaced. Recently, Bay Area artist Jose Meza Velazquez \u003ca href=\"https://www.kqed.org/arts/13845793/walkabout-san-joses-chicano-murals\" target=\"_blank\" rel=\"noopener\">filed a lawsuit\u003c/a> against a real estate developer who painted over his iconic \u003cem>Mural de la Raza.\u003c/em> Now is a critical time to document San Jose’s murals and support the next generation of mural-makers.\u003c/p>\n\u003cp>You can follow a map of the Japantown murals with \u003ca href=\"https://www.codeforsanjose.com/heartofthevalley/\" target=\"_blank\" rel=\"noopener\">this interactive map\u003c/a> made possible by\u003ca href=\"https://www.yanyinchoy.com/\" target=\"_blank\" rel=\"noopener\"> Yan-Yin Choy\u003c/a> of \u003ca href=\"https://www.codeforsanjose.com/\" target=\"_blank\" rel=\"noopener\">Code for San Jose\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>SoMa Street Art\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ground zero for much of the city’s tech chaos, SoMa maintains its creative energy with new work from both local and international artists. Keep your eyes peeled for jaw-dropping blooms by\u003ca href=\"https://www.instagram.com/jetmar1/\" target=\"_blank\" rel=\"noopener\"> Jet Martinez\u003c/a>, vivid sheroes by \u003ca href=\"https://www.instagram.com/dj_agana/\" target=\"_blank\" rel=\"noopener\">Agana\u003c/a>, monochromatic musings of \u003ca href=\"https://www.instagram.com/zioziegler/\" target=\"_blank\" rel=\"noopener\">Zio Ziegler\u003c/a>, and portraits of resistance by \u003ca href=\"https://www.instagram.com/jessicasabogal/\" target=\"_blank\" rel=\"noopener\">Jess Sabogal\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>‘Free To See’ at San Francisco Museum of Modern Art\u003c/h3>\n\u003ch4>\u003ca href=\"https://www.sfmoma.org/visit/free-to-see/\" target=\"_blank\" rel=\"noopener\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The secret’s out. From coral red bathrooms to five floors of rotating exhibitions, SFMOMA has solidified its reputation as an Instagrammer’s paradise. But while many patrons breeze by the first two floors in a rush up to the \u003ca href=\"https://www.kqed.org/arts/13832153/choose-your-own-adventure-the-summer-art-show-edition\" target=\"_blank\" rel=\"noopener\">hottest new shows\u003c/a>, they miss an art-filled playground for a photographer with a keen eye. High above the grand staircase at the museum’s third street entrance, you can stand face-to-face with the \u003ca href=\"http://sfist.com/2017/08/24/video_sfmoma_installs_largest_paint.php\" target=\"_blank\" rel=\"noopener\">first-largest painting\u003c/a> ever installed since the museum re-opened: an 80-foot-long, 20-foot-high, \u003ca href=\"https://www.sfmoma.org/exhibition/julie-mehretu-HOWL-eon-I-II\" target=\"_blank\" rel=\"noopener\">two-panel mural\u003c/a> by Julie Mehretu. Then meet a thousand—1,206 to be exact—San Franciscans and hear their stories in JR’s interactive video mural \u003cem>The Chronicles of San Francisco.\u003c/em> And on your way out, don’t overlook the vibrant \u003cem>Play Sculpture\u003c/em> by Isamu Noguchi.\u003c/p>\n\u003chr>\n\u003ch3>Diego Rivera’s Hidden San Francisco Murals\u003c/h3>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no need to jet-set off to an international destination to get a slice of art history because San Francisco houses three hidden murals painted by the iconic Mexican muralist Diego Rivera. Tucked away in the Diego Rivera Theatre lobby at City College of San Francisco stands the massive \u003cem>Pan American Unity Mural\u003c/em> — the largest mural Rivera ever created. By 2020, \u003ca href=\"https://www.sfchronicle.com/entertainment/article/Diego-Rivera-mural-masterpiece-to-be-exhibited-in-12443281.php\" target=\"_blank\" rel=\"noopener\">SFMOMA\u003c/a> will move the 10-panel work into a free streetside gallery as the centerpiece of an exhibition dedicated to the legendary artist. The sheer scale and history of all three works are bound to satiate any art-hungry photographer.\u003c/p>\n\u003cp>\u003cem>Visit Rivera’s ‘The Making of a Fresco Showing the Building of a City’ at the \u003ca href=\"http://sfai.edu/about-sfai/diego-rivera-mural\" target=\"_blank\" rel=\"noopener\">San Francisco Art Institute\u003c/a> and ‘Allegory of California’ at \u003ca href=\"https://cityclubsf.com/\">City Club of San Francisco\u003c/a>.\u003c/em>\u003c/p>\n\u003chr>\n\u003ch3>Murals of Oakland: Downtown and Jack London District\u003c/h3>\n\u003ch4>\u003ca href=\"http://bamfest.org/oakland-mural-festival-map\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13824746/young-oakland-superheroes-fight-for-their-mural\">Oakland heroes\u003c/a> and \u003ca href=\"https://localwiki.org/oakland/Girl_Mobb_Super_Wall\" target=\"_blank\" rel=\"noopener\">heroines\u003c/a> emerge from under overpasses and brighten concrete corners of The Town. Themes of representation, resistance and beauty can be found spanning across sidewalks all over Oakland, providing momentary respite from the realities of its \u003ca href=\"http://www.governing.com/gov-data/oakland-gentrification-maps-demographic-data.html\" target=\"_blank\" rel=\"noopener\">ongoing gentrification\u003c/a>. Spend an afternoon perusing the (arguably) \u003ca href=\"https://localwiki.org/oakland/Murals\">largest list of Oakland’s street art\u003c/a> maintained by Oakland Wiki, or take a walking tour of some of Oakland’s newest murals by featuring the work of \u003ca href=\"http://lospobresartistas.com/\" target=\"_blank\" rel=\"noopener\">Los Pobres Artistas\u003c/a>, \u003ca href=\"http://www.trustyourstruggle.com/a/\" target=\"_blank\" rel=\"noopener\">Trust Your Struggle\u003c/a>, \u003ca href=\"http://www.creativeshields.com/\" target=\"_blank\" rel=\"noopener\">Creative Shields\u003c/a> Creators Gone Create and \u003ca href=\"http://bamfest.org/home#fundraiser\" target=\"_blank\" rel=\"noopener\">others\u003c/a>.\u003c/p>\n\u003chr>\n\u003ch3>di Rosa’s Sculpture Garden\u003c/h3>\n\u003ch4>\u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\">More Information\u003c/a>\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With over dozens of objects along a long trail on the rolling hills of wine country, \u003ca href=\"http://www.dirosaart.org/outdoor-sculpture-tour/\" target=\"_blank\" rel=\"noopener\">di Rosa’s Outdoor Sculpture Tour \u003c/a>surprises the eager photographer at every turn. Mark di Suvero’s \u003ca href=\"https://www.sculpture.org/documents/parksdir/p&g/dirosa/dirosa6.shtml\" target=\"_blank\" rel=\"noopener\">\u003cem>For Veroniva\u003c/em>\u003c/a> rises like a rubescent monument, while Gordon Huether’s aluminum \u003ca href=\"https://www.gordonhuether.com/aluminum-yucca\" target=\"_blank\" rel=\"noopener\">\u003cem>Yucca\u003c/em>\u003c/a> cuts through the soil like an offering to supernatural beings. And full disclosure, the di Rosa Outdoor Sculpture Tour isn’t quite “free, public art,” but supporting an arts organization that \u003ca href=\"https://www.kqed.org/arts/13815773/the-di-rosa-embraces-community-after-a-brush-with-disaster\" target=\"_blank\" rel=\"noopener\">served as a refuge\u003c/a> for the community after the North Bay fires should be considered $18 well spent.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Music Nonprofits Bridge the Budget Gap in Oakland Schools",
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"content": "\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They can see how this ties into their current studies,” she says. “And then: ‘Oh, maybe my current studies aren’t that bad if I can use them to make this badass art.'”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent morning at Westlake Middle School in Oakland, longtime band teacher Randy Porter keeps a friendly demeanor while wrangling his students’ attention. “Turn to page 17,” he says, projecting over a cacophony of sixth graders messing with their flutes, clarinets, trumpets and saxophones. “Here’s the thing: with a little bit of focus, you could get \u003cem>every\u003c/em> line sounding that good. I know you could. Or actually, even better!”\u003c/p>\n\u003cp>Porter’s encouragement gets a boost in his next class, for seventh and eighth grade advanced band students, when local trumpet player Christopher Clarke joins him. Clarke is a teaching artist who’s here thanks to San Francisco nonprofit \u003ca href=\"https://www.sfjazz.org/education/schools-and-partnerships/\" target=\"_blank\" rel=\"noopener\">SFJAZZ\u003c/a>‘s program Jazz in Session, which brings professional musicians into classrooms to work one-on-one with students. As Porter leads the class through a 12-bar blues composition, Clarke brings three trumpet players into a glass-paneled practice room for a special session.\u003c/p>\n\u003cfigure id=\"attachment_13831113\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg\" alt=\"Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ' Jazz in Session initiative. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz1-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Band teacher Randy Porter and visiting artist Christopher Clarke, who teaches at Westlake Middle School thanks to SFJAZZ’s Jazz in Session initiative. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With Clarke here, the atmosphere changes; the students seem more engaged, and Porter seems relieved. “I feel like the biggest part of my job is psychologist. I gotta teach music, but there’s a lot more,” Porter says when he gets a moment to break away from his class. “More than half of our students come from a traumatic home life.”\u003c/p>\n\u003cp>SFJAZZ has had a presence in San Francisco public schools since 1984, but this year marks its major expansion into Oakland, with the goal of reaching all of the city’s middle schools. Along with fellow San Francisco nonprofit Women’s Audio Mission — which opened an Oakland location for its middle school after-school program this school year — SFJAZZ joins several Oakland music nonprofits, including Oaktown Jazz and Oakland Public Conservatory, in bolstering underfunded music programs in the Oakland Unified School District.\u003c/p>\n\u003ch3>Tackling Music Education from Multiple Fronts\u003c/h3>\n\u003cp>Last fall, SFJAZZ introduced Jazz in Session — where teaching artists like Clarke visit music classrooms — to three Oakland middle Schools: Westlake, Montera and Edna Brewer. In the coming 2018-19 school year, SFJAZZ plans to implement two more education programs in Oakland: one of them, School Day Concerts, will bring musicians like bassist Marcus Shelby and Latin jazz ensemble La Mixta Criolla to perform for assemblies at 15 different schools.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At two to three more middle schools, SFJAZZ is planning another program, Jazz in the Middle, which integrates a jazz curriculum into existing language arts and social studies classes at schools that don’t have band periods. (SFJAZZ has yet to announce the names of the beneficiary schools of both programs.)\u003c/p>\n\u003cfigure id=\"attachment_13831114\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831114\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg\" alt=\"Beginning band class at Westlake Middle School.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/sfjazz2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beginning band class at Westlake Middle School. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>SFJAZZ Director of Education Rebecca Mauleón says she hopes SFJAZZ’s efforts will bolster the arts in the low-income school district, which has about \u003ca href=\"http://www.ofcy.org/assets/Strategic-Plan/Strategic-Plan-2016-2019-Appendix-A-Oakland-Youth-Demographic-Profile.pdf\" target=\"_blank\" rel=\"noopener\">a third of students\u003c/a> living below the poverty line. The primary aim is to contribute to students’ over all academic success, not necessarily to put them on a direct path to professional musicianship.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The arts are necessary skill-building tools that are part of critical thinking, collaborative learning and, in many cases, the types of job opportunities they’ll have in the future that haven’t been invented yet,” Mauleón says.\u003c/span>\u003c/p>\n\u003cp>SFJAZZ’ goal is to bring consistency to OUSD’s music programs at a time when the district faces a major \u003ca href=\"https://www.eastbaytimes.com/2017/12/14/oakland-unified-school-board-approves-9-million-in-mid-year-cuts/\" target=\"_blank\" rel=\"noopener\">budget crisis\u003c/a>. According to the\u003ca href=\"http://www.randstatestats.org/ca/stats/per-pupil-spending-(ca-only).html\" target=\"_blank\" rel=\"noopener\"> latest available data\u003c/a> from the Rand Corporation, Oakland Unified School District (OUSD) spent $13,813 per student during the 2016-17 school year. (In comparison, across the Bay in affluent Palo Alto, the school district spent $17,941 — over $4,000 more — per student.) Moreover, in December 2017, OUSD approved $9 million in mid-year budget cuts, nixing dozens of non-teaching staff positions and reducing budgets for supplies, teacher benefits and other areas.\u003c/p>\n\u003cp>Fillmore Rydeen, the manager of visual and performing arts at OUSD, says OUSD hasn’t laid off any music teachers in years, but admitted that there have been operational cuts to music:\u003cspan style=\"font-weight: 400\"> “Money we’d use to purchase instruments, supplies and things like that; repair equipment,” he says.\u003c/span>\u003c/p>\n\u003cp>Like \u003ca href=\"https://www.kqed.org/news/10897918/parents-and-administrators-in-oakland-battle-over-middle-schools-future\" target=\"_blank\" rel=\"noopener\">several other teachers at Westlake\u003c/a>, Porter maintains that traditional public schools have \u003ca href=\"https://www.eastbaytimes.com/2017/12/08/what-led-to-oakland-unifieds-budget-crisis/\" target=\"_blank\" rel=\"noopener\">taken a major hit\u003c/a> over the past decade as a result of the charter school movement. Charter schools attract high-achieving students from well-off families out of public schools like Westlake, he says, leaving students from low-income families behind.\u003c/p>\n\u003cp>In 2013, Westlake had 747 students. Porter says that number is now closer to 360. Because schools get funding based on average daily attendance, they’ve lost many resources. The principal cancelled Porter’s before-school jazz band period because of low enrollment, for instance, which cut the time he gets with his advanced students in half.\u003c/p>\n\u003cp>“We have this new era of segregation in Oakland schools,” he says.\u003c/p>\n\u003cp>At Westlake, teachers are stretched thin, Porter explains, which is why non-profit programs that send in teaching artists like Clarke can be a huge boon: “There are so many kids that have so many needs in a community like this that to be really successful is not a one-person job.”\u003c/p>\n\u003ch3>Focusing on Under-Resourced Schools\u003c/h3>\n\u003cp>Like SFJAZZ, the San Francisco-based Women’s Audio Mission (WAM) is also seeking to deepen its relationship with Oakland schools. The nonprofit has offered after-school programs on site at Oakland schools for nearly seven years, and it opened its first Oakland facility in the Fruitvale district at the start of the 2017-2018 school year.\u003c/p>\n\u003cp>“We’ve had next-to-no capacity to offer audio engineering course work for our middle school students, so having someone like Women’s Audio Mission is something that’s really critical and fills a variety of different roles in music education,” says Rydeen.\u003c/p>\n\u003cfigure id=\"attachment_13831116\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831116\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg\" alt=\"Women's Audio Mission interns assist in a podcasting class for middle schoolers at the non-profit's Oakland facility.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1020x683.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1200x803.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-1180x790.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-960x643.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/wam2-520x348.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Women’s Audio Mission interns assist in a podcasting class for middle school students at the non-profit’s Oakland facility. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As of 2017, the Oakland Unified School District has a\u003ca href=\"https://edsource.org/2017/graduation-and-dropout-rates-look-up-california-districts-and-high-schools/580171\" target=\"_blank\" rel=\"noopener\"> 35 percent dropout rate\u003c/a>, and Terri Winston, founder of Women’s Audio Mission, says that phenomenon is particularly prevalent in East Oakland. She set her sights on Fruitvale in order to reach those under-resourced students.\u003c/p>\n\u003cp>“This location in particular, there’s like eight middle schools that can walk to us,” says Winston. “It was important to us to have a location that the girls could own, that felt like, ‘This is a part of my neighborhood.'”\u003c/p>\n\u003cp>When I sit in on a class called Girls on the Mic on a recent afternoon, over a dozen sixth-grade girls from Urban Promise Academy work on podcasts in GarageBand. Most of them are bilingual English and Spanish speakers, so there’s a lot of Spanglish in the mix. One group of three giggles as they practice the introduction to their gossip podcast, which they’re calling \u003cem>Middle School Chisme. \u003c/em>Another group passionately huddles around their microphones for a podcast on LGBTQ issues. “I don’t know what I am yet,” one student confesses into the mic, “but I think everyone should be themselves!”\u003c/p>\n\u003cp>At Girls on the Mic, kids learn a wide range of skills, including recording, mixing, music production, sound for film, podcasting and live sound. “They kind of get to pick and choose and get exposed to all of these careers,” says Victoria Fajardo, a Girls on the Mic instructor.\u003c/p>\n\u003cp>Fajardo says that as a woman of color, her passion to inspire young girls in Fruitvale is deeply personal: she’s first generation Mexican American and grew up in a similarly working class, predominantly Latino neighborhood in Concord. “It’s really important for me to tell them, ‘If I can do it, you can do it,'” she says.\u003c/p>\n\u003cp>As class wraps up, the girls look invigorated; they’re still giggling from having fun being themselves on the mic. Winston says that experiences like this can help close the achievement gap by motivating students to get excited about learning. Her goal is to reach 3,000 Oakland students a year by 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They can see how this ties into their current studies,” she says. “And then: ‘Oh, maybe my current studies aren’t that bad if I can use them to make this badass art.'”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Remembering Sahleem Tindle — Not with Words, but 'Visual Symphonies' ",
"headTitle": "Remembering Sahleem Tindle — Not with Words, but ‘Visual Symphonies’ | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>his past April, I found myself scribbling the words “Memento Mori” on a page of my notebook, using the aura from the stage lights to make sure I spelled them correctly. On stage, the gentleman at San Francisco’s Swedish American Hall was busy explaining that during post-battle victory parades, Roman Generals often kept an enslaved person by their side, whispering in their ear those words, “memento mori,” as a reminder that no living being escapes death.\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>This was the opening performance to a weeklong series in April called Reimagine End of Life, in which speakers, artists and musicians took to stages all around San Francisco, presenting ways to look at death differently; the idea being that while death is inevitable, how one views the process is malleable. And the catalyst for that change is a simple matter of how the story is told.\u003c/p>\n\u003cp>From the second-to-last row, I took in the night’s stories: one about San Francisco’s lack of cemeteries, and how the bodies once buried there were moved (well, most of them, anyway). There was also a father and daughter who discussed the emotions of death. Eye-opening were the comments from the elder gentleman, who said he’s not worried about dying, nor old age, but missed his friends. That hit an emotional string.\u003c/p>\n\u003cp>Then there was Angelica Ekeke’s performance about the death of a man who wasn’t old but young, who still had friends, who still had family, who still had a lot of life ahead of him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His name was Sahleem Tindle.\u003c/p>\n\u003cfigure id=\"attachment_13831128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831128\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-800x450.jpg\" alt=\"Uncle Bobby, the Uncle of Oscar Grant, speaks in support nine years after Grant's death at the Alameda Courthouse, encouraging protesters to continue to organize on their journey for justice against BART Police. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Bobby, the Uncle of Oscar Grant, speaks in support nine years after Grant’s death at the Alameda Courthouse, encouraging protesters to continue to organize on their journey for justice against BART Police. \u003ccite>(Courtesy Angelica Ekeke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n the surface, Ekeke’s performance was about Tindle, and his fatal shooting by an armed BART officer in January of this year. But \u003cem>The Removal\u003c/em>, as she titled it, was also about three kinds of elimination: “The removal of these loved ones’ voices, the removal of black and brown men from society,” she tells me, “and the fight of a mother who’s speaking for the removal of the men who killed her son.”\u003c/p>\n\u003cp>Ekeke opened with details of the Tindle’s death: he was on his knees when he was shot multiple times in his back on Jan. 3, 2018, by BART officer Joseph Mateu. Even with existing body camera footage, the cascading and sometimes changing stream of information about the shooting has caused, like so many other extrajudicial executions, a storm of questions about what really happened on that day.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The difference between me and the news is that, they say they’re telling you the truth, when in fact, there is another part that’s missing.’\u003c/aside>\n\u003cp>Lost in all of this would be the real story of who Tindle was — be it not for Ekeke realizing she had to tell it. But a simple story wasn’t sufficient. A powerpoint presentation wouldn’t do. A poem or song wasn’t enough. It had to be, what Ekeke calls, a “visual symphony.”\u003c/p>\n\u003cp>At the Swedish American Hall, there was the video that played in the background. There were quick-paced clips of recorded interviews, home videos and photomontages of Tindle and his family. The footage was like watching the apex of a tearjerker movie; the stuff they show right before the credits roll.\u003c/p>\n\u003cp>And as the footage plucked every heartstring of the harp in my chest, there was Ekeke, singing her ass off.\u003c/p>\n\u003cp>I mean, high-note vocals; not church high note, but opera high note. In a celestial soprano, she sang lines brought about by the interviews with Tindle’s family, her lyrics inspired by her conversations with them, framing their words artistically.\u003c/p>\n\u003cfigure id=\"attachment_13831125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-800x450.jpg\" alt=\"'You know, I am grateful for the time that I did have with him. Peace is going out into the world through his name; his name means peace. That’s what we need in the world now, peace.' The mother of Shaleem Tindle cries at the dinner table as she remembers the moments she shared with her son, while having dinner with her family. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘You know, I am grateful for the time that I did have with him. Peace is going out into the world through his name; his name means peace. That’s what we need in the world now, peace.’ The mother of Shaleem Tindle cries at the dinner table as she remembers the moments she shared with her son, while having dinner with her family. \u003ccite>(Courtesy Angelica Ekeke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, she merged journalism and art, a fine line Ekeke has walked for some time now. She says she’s incorporated art into her reporting since her undergrad years, and that she’s almost always met some sort of backlash. People would tell her, “you’re always trying to make this too artistic,” or “just paint the picture, that’s it.”\u003c/p>\n\u003cp>To that, Ekeke would say, “I want this to be truth.” It’s a very risky thing to do, she says, to mix journalism and art, “but I think that it’s needed.”\u003c/p>\n\u003cp>It \u003cem>is\u003c/em> needed, especially at a time in which traditional journalism outfits are rolling over left and right, be it the \u003cem>Chicago Sun-Times\u003c/em>’ \u003ca href=\"http://thehill.com/homenews/media/384423-chicago-sun-times-leaves-front-page-blank-pleas-for-subscribers-we-need-you-to\" target=\"_blank\" rel=\"noopener noreferrer\">plea for subscribers\u003c/a>, the \u003cem>Denver Post\u003c/em>’s harsh words for their owners, the \u003cem>Sacramento Bee\u003c/em>’s recent layoffs, or the \u003cem>East Bay Times\u003c/em>, which has been constantly downsized, even after winning a Pulitzer. Meanwhile, corporate media is constantly exposed for pushing certain agendas. There needs to be something new.\u003c/p>\n\u003cp>“The difference between me and the news is that, they say they’re telling you the truth, when in fact, there is another part that’s missing,” says Ekeke. “Well, OK, I can tell the other part that’s missing.”\u003c/p>\n\u003cp>Journalism, this weird hybrid of art and public service and trade, is supposed to be unbiased and balanced, but we all know it can never completely reach that ideal. And in a world where stories dictate how people live, and in some instances, die, there needs to a new approach to how stories are told.\u003c/p>\n\u003cp>“What are some ways we can continue to engage people on different levels by touching every part of the human experience?” asks Ekeke, almost rhetorically.\u003c/p>\n\u003cp>And just as quickly, she answers her own question: “Come see the person beyond another statistic, come see who this person was. And do it in a very artistic, and still journalistic way, that will hopefully impact them on an emotional level and on an intellectual level.”\u003c/p>\n\u003cfigure id=\"attachment_13831126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831126\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-800x450.jpg\" alt=\"A young Shaleem Tindle smiles in a featured home video. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young Shaleem Tindle smiles in a featured home video. \u003ccite>(Courtesy Angelica Ekeke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>keke’s piece indeed highlighted another case of police brutality against a young man of color, something we’ve seen so much of since the filmed shooting of Oscar Grant by a BART cop in January of 2009.\u003c/p>\n\u003cp>It was the people who took to social media, the streets, and eventually, with \u003cem>Fruitvale Station\u003c/em>, the silver screen to ensure that the young man’s story was told properly, so he would be seen as a human, flaws and all.\u003c/p>\n\u003cp>I was one of those people pushing his story to be told. I remember, while tweeting from 14th and Broadway during the protests, someone responding to me that following my social media was giving them a better picture of what was happening on the ground than CNN.\u003c/p>\n\u003cp>Traditional corporate media news is the Roman General, still a champion in the journalism world, but it’s constantly being hit with whispers of “memento mori,” reminding it of its impending doom, and need for re-creation.\u003c/p>\n\u003cp>Journalists are realizing that more and more. There needs to be a new approach to storytelling. Something that not only tells the full story but hits an emotional chord with people. And I know, I know: I’m writing this in a piece for a traditional news outlet.\u003c/p>\n\u003cp>But after watching Ekeke’s performance, all I can think is: \u003cem>Man, if only I could sing\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Remembering Sahleem Tindle — Not with Words, but 'Visual Symphonies' | 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\">T\u003c/span>his past April, I found myself scribbling the words “Memento Mori” on a page of my notebook, using the aura from the stage lights to make sure I spelled them correctly. On stage, the gentleman at San Francisco’s Swedish American Hall was busy explaining that during post-battle victory parades, Roman Generals often kept an enslaved person by their side, whispering in their ear those words, “memento mori,” as a reminder that no living being escapes death.\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>This was the opening performance to a weeklong series in April called Reimagine End of Life, in which speakers, artists and musicians took to stages all around San Francisco, presenting ways to look at death differently; the idea being that while death is inevitable, how one views the process is malleable. And the catalyst for that change is a simple matter of how the story is told.\u003c/p>\n\u003cp>From the second-to-last row, I took in the night’s stories: one about San Francisco’s lack of cemeteries, and how the bodies once buried there were moved (well, most of them, anyway). There was also a father and daughter who discussed the emotions of death. Eye-opening were the comments from the elder gentleman, who said he’s not worried about dying, nor old age, but missed his friends. That hit an emotional string.\u003c/p>\n\u003cp>Then there was Angelica Ekeke’s performance about the death of a man who wasn’t old but young, who still had friends, who still had family, who still had a lot of life ahead of him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His name was Sahleem Tindle.\u003c/p>\n\u003cfigure id=\"attachment_13831128\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831128\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-800x450.jpg\" alt=\"Uncle Bobby, the Uncle of Oscar Grant, speaks in support nine years after Grant's death at the Alameda Courthouse, encouraging protesters to continue to organize on their journey for justice against BART Police. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-1-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Uncle Bobby, the Uncle of Oscar Grant, speaks in support nine years after Grant’s death at the Alameda Courthouse, encouraging protesters to continue to organize on their journey for justice against BART Police. \u003ccite>(Courtesy Angelica Ekeke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n the surface, Ekeke’s performance was about Tindle, and his fatal shooting by an armed BART officer in January of this year. But \u003cem>The Removal\u003c/em>, as she titled it, was also about three kinds of elimination: “The removal of these loved ones’ voices, the removal of black and brown men from society,” she tells me, “and the fight of a mother who’s speaking for the removal of the men who killed her son.”\u003c/p>\n\u003cp>Ekeke opened with details of the Tindle’s death: he was on his knees when he was shot multiple times in his back on Jan. 3, 2018, by BART officer Joseph Mateu. Even with existing body camera footage, the cascading and sometimes changing stream of information about the shooting has caused, like so many other extrajudicial executions, a storm of questions about what really happened on that day.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘The difference between me and the news is that, they say they’re telling you the truth, when in fact, there is another part that’s missing.’\u003c/aside>\n\u003cp>Lost in all of this would be the real story of who Tindle was — be it not for Ekeke realizing she had to tell it. But a simple story wasn’t sufficient. A powerpoint presentation wouldn’t do. A poem or song wasn’t enough. It had to be, what Ekeke calls, a “visual symphony.”\u003c/p>\n\u003cp>At the Swedish American Hall, there was the video that played in the background. There were quick-paced clips of recorded interviews, home videos and photomontages of Tindle and his family. The footage was like watching the apex of a tearjerker movie; the stuff they show right before the credits roll.\u003c/p>\n\u003cp>And as the footage plucked every heartstring of the harp in my chest, there was Ekeke, singing her ass off.\u003c/p>\n\u003cp>I mean, high-note vocals; not church high note, but opera high note. In a celestial soprano, she sang lines brought about by the interviews with Tindle’s family, her lyrics inspired by her conversations with them, framing their words artistically.\u003c/p>\n\u003cfigure id=\"attachment_13831125\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831125\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-800x450.jpg\" alt=\"'You know, I am grateful for the time that I did have with him. Peace is going out into the world through his name; his name means peace. That’s what we need in the world now, peace.' The mother of Shaleem Tindle cries at the dinner table as she remembers the moments she shared with her son, while having dinner with her family. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-3-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘You know, I am grateful for the time that I did have with him. Peace is going out into the world through his name; his name means peace. That’s what we need in the world now, peace.’ The mother of Shaleem Tindle cries at the dinner table as she remembers the moments she shared with her son, while having dinner with her family. \u003ccite>(Courtesy Angelica Ekeke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thus, she merged journalism and art, a fine line Ekeke has walked for some time now. She says she’s incorporated art into her reporting since her undergrad years, and that she’s almost always met some sort of backlash. People would tell her, “you’re always trying to make this too artistic,” or “just paint the picture, that’s it.”\u003c/p>\n\u003cp>To that, Ekeke would say, “I want this to be truth.” It’s a very risky thing to do, she says, to mix journalism and art, “but I think that it’s needed.”\u003c/p>\n\u003cp>It \u003cem>is\u003c/em> needed, especially at a time in which traditional journalism outfits are rolling over left and right, be it the \u003cem>Chicago Sun-Times\u003c/em>’ \u003ca href=\"http://thehill.com/homenews/media/384423-chicago-sun-times-leaves-front-page-blank-pleas-for-subscribers-we-need-you-to\" target=\"_blank\" rel=\"noopener noreferrer\">plea for subscribers\u003c/a>, the \u003cem>Denver Post\u003c/em>’s harsh words for their owners, the \u003cem>Sacramento Bee\u003c/em>’s recent layoffs, or the \u003cem>East Bay Times\u003c/em>, which has been constantly downsized, even after winning a Pulitzer. Meanwhile, corporate media is constantly exposed for pushing certain agendas. There needs to be something new.\u003c/p>\n\u003cp>“The difference between me and the news is that, they say they’re telling you the truth, when in fact, there is another part that’s missing,” says Ekeke. “Well, OK, I can tell the other part that’s missing.”\u003c/p>\n\u003cp>Journalism, this weird hybrid of art and public service and trade, is supposed to be unbiased and balanced, but we all know it can never completely reach that ideal. And in a world where stories dictate how people live, and in some instances, die, there needs to a new approach to how stories are told.\u003c/p>\n\u003cp>“What are some ways we can continue to engage people on different levels by touching every part of the human experience?” asks Ekeke, almost rhetorically.\u003c/p>\n\u003cp>And just as quickly, she answers her own question: “Come see the person beyond another statistic, come see who this person was. And do it in a very artistic, and still journalistic way, that will hopefully impact them on an emotional level and on an intellectual level.”\u003c/p>\n\u003cfigure id=\"attachment_13831126\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13831126\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-800x450.jpg\" alt=\"A young Shaleem Tindle smiles in a featured home video. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/The-Removal_Still-5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young Shaleem Tindle smiles in a featured home video. \u003ccite>(Courtesy Angelica Ekeke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>keke’s piece indeed highlighted another case of police brutality against a young man of color, something we’ve seen so much of since the filmed shooting of Oscar Grant by a BART cop in January of 2009.\u003c/p>\n\u003cp>It was the people who took to social media, the streets, and eventually, with \u003cem>Fruitvale Station\u003c/em>, the silver screen to ensure that the young man’s story was told properly, so he would be seen as a human, flaws and all.\u003c/p>\n\u003cp>I was one of those people pushing his story to be told. I remember, while tweeting from 14th and Broadway during the protests, someone responding to me that following my social media was giving them a better picture of what was happening on the ground than CNN.\u003c/p>\n\u003cp>Traditional corporate media news is the Roman General, still a champion in the journalism world, but it’s constantly being hit with whispers of “memento mori,” reminding it of its impending doom, and need for re-creation.\u003c/p>\n\u003cp>Journalists are realizing that more and more. There needs to be a new approach to storytelling. Something that not only tells the full story but hits an emotional chord with people. And I know, I know: I’m writing this in a piece for a traditional news outlet.\u003c/p>\n\u003cp>But after watching Ekeke’s performance, all I can think is: \u003cem>Man, if only I could sing\u003c/em>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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": "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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"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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"radiolab": {
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},
"rightnowish": {
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"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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"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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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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