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"content": "\u003cp>“It’s kind of wild to be here at seven years,” Anyka Barber says, founder of Oakland’s Betti Ono gallery in downtown Oakland. “Space is a premium, as we all know. So being able to hold this space for seven years was no small feat.”\u003c/p>\n\u003cp>It’s also no small feat that Betti Ono opened in the first place. Tucked into the corner of Frank Ogawa Plaza, Betti Ono has brought exposure to emerging artists and fostered critical conversation around topics like race, sex, politics and identity in ways that simply did not exist in Oakland seven years ago.\u003c/p>\n\u003cp>At the time, while working in both museum spaces and community art centers, Barber noticed a lack of opportunity for women of color to enter into leadership positions — as well as a pronounced void of accessible spaces inclusive of black, brown, and indigenous bodies and art. \u003c/p>\n\u003cfigure id=\"attachment_13810508\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/SashaKelley.jpg\" alt=\"Sasha Kelley, 'Circle of Black Women / ABRACADABRAKAAFRIKA.'\" width=\"600\" height=\"405\" class=\"size-full wp-image-13810508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-520x351.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley, ‘Circle of Black Women / ABRACADABRAKAAFRIKA.’ \u003ccite>(Sasha Kelley/Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In terms of actual venues and spaces to make your work visible, to put your work out there professionally, that provided artists of color opportunity to exhibit — those were the barriers we were pushing against [in Oakland],” Barber expresses. “Breaking the mold, breaking the boxes [by saying that] artists of color — black women, black men, people of color in general — have things to say with their work. That they are talented. And deserve a platform.”\u003c/p>\n\u003cp>In an era of Oakland’s rapidly changing landscape, Betti Ono became a haven of community, accessibility, and cultural stronghold.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, for its seven-year anniversary, Betti Ono Gallery is collaborating with \u003cem>Black Women Over Breathing\u003c/em>, a movement co-founded by Adrian Walker and Danielle McCoy that seeks to emphasize the historically underrepresented importance of black women in our everyday lives. Surrounded by women his whole life, Walker wanted to pay tribute to the integral, moving roles black women have held throughout his own personal journey, as well in the world’s history.\u003c/p>\n\u003cfigure id=\"attachment_13810511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-800x534.jpg\" alt=\"Danielle McCoy, 'SayHerName.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13810511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danielle McCoy, ‘SayHerName.’ \u003ccite>(Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Black women artists — they’re amazing. I look up to them the most because their stories are so deep. Family-oriented. How they were brought up,” Walker says. “All that is rooted in my work in a way. They own this. It’s because of them…I’m honored — this seven-year anniversary — just to be a part of it.”\u003c/p>\n\u003cp>Building opportunity for emerging artists — and artists of color — is something that’s central to both Betti Ono Gallery and \u003cem>Black Women Over Breathing\u003c/em>. For the upcoming show in particular, Walker and McCoy have curated works from artists of vast backgrounds, experience, and mediums; exhibiting artists include Lukaza Branfman, Jade Fair, Kierra Johnson, Jay Katelansky, Sasha Kelley, Yetunde Olagbaju, Danielle McCoy, Lelia Weefur, and Zakiya Zazzaboi.\u003c/p>\n\u003cfigure id=\"attachment_13810517\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Lukaza.jpg\" alt=\"Lukaza Branfman-Verissimo, 'As Bright as Yellow.'\" width=\"400\" height=\"600\" class=\"size-full wp-image-13810517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo, ‘As Bright as Yellow.’ \u003ccite>(Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The curators have done a great job of… really tackling critical issues affecting black women in ways that may not be so superficial, really getting into the undercurrent of what life is like. Everyday,” comments Barber. “We celebrate the culture of everyday people, but one of the intentions is to say that who we are, how we are, and how we show up is good enough. It’s enough to be seen, be respected, and be valued.”\u003c/p>\n\u003cp>Walker adds, “I just wanted black women to be able to express themselves. And how they portray what \u003cem>Black Women Over Breathing\u003c/em> is. [Across] all types of mediums. [To] do what they want and show their work in many different forms.”\u003c/p>\n\u003cp>Ultimately, Barber envisions the upcoming show simultaneously as a celebration of black womanhood and all the work done at Betti Ono over the last seven years. Both she and Walker want audiences to walk away from the space with a new cultural understanding and consciousness that may have been missing before.\u003c/p>\n\u003cp>“I think there has been a lot of pretending about how critical black women have been to the formation of this country, even while being discriminated against [and] being oppressed. So, I feel like the statement is about that: a reclamation of our power and our agency. Our lives. Period. In whatever shape or form,” Barber states. “[And] I feel like Betti Ono is going to continue being the space that continues to elevate conversations to this point.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Betti Ono 7 Year Anniversary: Black Women Over Breathing’ runs Oct. 6, 2017–Jan. 5, 2018 at Betti Ono Gallery, with an \u003ca href=\"https://www.facebook.com/events/1620443231348620/\" rel=\"noopener\" target=\"_blank\">opening reception\u003c/a> from 6pm–9pm on Oct. 6. \u003ca href=\"https://bettiono.com/2017/09/15/betti-ono-celebrates-7-year-anniversary-black-women-over-breathing-exhibition/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s kind of wild to be here at seven years,” Anyka Barber says, founder of Oakland’s Betti Ono gallery in downtown Oakland. “Space is a premium, as we all know. So being able to hold this space for seven years was no small feat.”\u003c/p>\n\u003cp>It’s also no small feat that Betti Ono opened in the first place. Tucked into the corner of Frank Ogawa Plaza, Betti Ono has brought exposure to emerging artists and fostered critical conversation around topics like race, sex, politics and identity in ways that simply did not exist in Oakland seven years ago.\u003c/p>\n\u003cp>At the time, while working in both museum spaces and community art centers, Barber noticed a lack of opportunity for women of color to enter into leadership positions — as well as a pronounced void of accessible spaces inclusive of black, brown, and indigenous bodies and art. \u003c/p>\n\u003cfigure id=\"attachment_13810508\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/SashaKelley.jpg\" alt=\"Sasha Kelley, 'Circle of Black Women / ABRACADABRAKAAFRIKA.'\" width=\"600\" height=\"405\" class=\"size-full wp-image-13810508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/SashaKelley-520x351.jpg 520w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley, ‘Circle of Black Women / ABRACADABRAKAAFRIKA.’ \u003ccite>(Sasha Kelley/Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In terms of actual venues and spaces to make your work visible, to put your work out there professionally, that provided artists of color opportunity to exhibit — those were the barriers we were pushing against [in Oakland],” Barber expresses. “Breaking the mold, breaking the boxes [by saying that] artists of color — black women, black men, people of color in general — have things to say with their work. That they are talented. And deserve a platform.”\u003c/p>\n\u003cp>In an era of Oakland’s rapidly changing landscape, Betti Ono became a haven of community, accessibility, and cultural stronghold.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now, for its seven-year anniversary, Betti Ono Gallery is collaborating with \u003cem>Black Women Over Breathing\u003c/em>, a movement co-founded by Adrian Walker and Danielle McCoy that seeks to emphasize the historically underrepresented importance of black women in our everyday lives. Surrounded by women his whole life, Walker wanted to pay tribute to the integral, moving roles black women have held throughout his own personal journey, as well in the world’s history.\u003c/p>\n\u003cfigure id=\"attachment_13810511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-800x534.jpg\" alt=\"Danielle McCoy, 'SayHerName.'\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13810511\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Danielle-McCoy.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Danielle McCoy, ‘SayHerName.’ \u003ccite>(Betti Ono)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Black women artists — they’re amazing. I look up to them the most because their stories are so deep. Family-oriented. How they were brought up,” Walker says. “All that is rooted in my work in a way. They own this. It’s because of them…I’m honored — this seven-year anniversary — just to be a part of it.”\u003c/p>\n\u003cp>Building opportunity for emerging artists — and artists of color — is something that’s central to both Betti Ono Gallery and \u003cem>Black Women Over Breathing\u003c/em>. For the upcoming show in particular, Walker and McCoy have curated works from artists of vast backgrounds, experience, and mediums; exhibiting artists include Lukaza Branfman, Jade Fair, Kierra Johnson, Jay Katelansky, Sasha Kelley, Yetunde Olagbaju, Danielle McCoy, Lelia Weefur, and Zakiya Zazzaboi.\u003c/p>\n\u003cfigure id=\"attachment_13810517\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Lukaza.jpg\" alt=\"Lukaza Branfman-Verissimo, 'As Bright as Yellow.'\" width=\"400\" height=\"600\" class=\"size-full wp-image-13810517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Lukaza-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Lukaza Branfman-Verissimo, ‘As Bright as Yellow.’ \u003ccite>(Betti Ono Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The curators have done a great job of… really tackling critical issues affecting black women in ways that may not be so superficial, really getting into the undercurrent of what life is like. Everyday,” comments Barber. “We celebrate the culture of everyday people, but one of the intentions is to say that who we are, how we are, and how we show up is good enough. It’s enough to be seen, be respected, and be valued.”\u003c/p>\n\u003cp>Walker adds, “I just wanted black women to be able to express themselves. And how they portray what \u003cem>Black Women Over Breathing\u003c/em> is. [Across] all types of mediums. [To] do what they want and show their work in many different forms.”\u003c/p>\n\u003cp>Ultimately, Barber envisions the upcoming show simultaneously as a celebration of black womanhood and all the work done at Betti Ono over the last seven years. Both she and Walker want audiences to walk away from the space with a new cultural understanding and consciousness that may have been missing before.\u003c/p>\n\u003cp>“I think there has been a lot of pretending about how critical black women have been to the formation of this country, even while being discriminated against [and] being oppressed. So, I feel like the statement is about that: a reclamation of our power and our agency. Our lives. Period. In whatever shape or form,” Barber states. “[And] I feel like Betti Ono is going to continue being the space that continues to elevate conversations to this point.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Betti Ono 7 Year Anniversary: Black Women Over Breathing’ runs Oct. 6, 2017–Jan. 5, 2018 at Betti Ono Gallery, with an \u003ca href=\"https://www.facebook.com/events/1620443231348620/\" rel=\"noopener\" target=\"_blank\">opening reception\u003c/a> from 6pm–9pm on Oct. 6. \u003ca href=\"https://bettiono.com/2017/09/15/betti-ono-celebrates-7-year-anniversary-black-women-over-breathing-exhibition/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Discussion With Oakland Artists About Rape Culture",
"headTitle": "A Discussion With Oakland Artists About Rape Culture | 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>n an art studio in East Oakland two weeks ago, midway though a heavy group conversation about the elements of rape culture, the seductive bassline of the strip-club anthem “\u003ca href=\"https://www.youtube.com/watch?v=OrSadmwmmAs\" target=\"_blank\" rel=\"noopener noreferrer\">Rake It Up\u003c/a>” suddenly came blasting through the window.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The majority of attendees — around 40 people — laughed at the irony. And then got back to the discussion, called to order by a talented photographer named \u003ca href=\"http://www.shotbychose.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deario “Chose” Austin\u003c/a>, a skilled vocalist named Vivian Allen, a seasoned emcee named \u003ca href=\"https://soundcloud.com/AjGod\" target=\"_blank\" rel=\"noopener noreferrer\">Ajman Thrower\u003c/a> and a hardworking music producer named Mark Weiner (a.k.a. \u003ca href=\"https://mrmarstoday.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mars Today\u003c/a>).\u003c/p>\n\u003cp>As the talk about navigating unhealthy relationships evolved from a venting session to a solution-based conversation, I took down every note I could. Quotes. Thoughts. Experiences. Suggestions. I left the discussion with two things in mind:\u003c/p>\n\u003cp>1. I have a lot to learn.\u003cbr>\n2. These discussions should continue.\u003c/p>\n\u003cfigure id=\"attachment_13810315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/rc3-800x500.jpg\" alt=\"Attendees at a conversation in East Oakland about rape culture and abusive relationships.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at a conversation in East Oakland about rape culture and abusive relationships. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he discussion of “rape culture” isn’t new in Oakland. We’re talking about a place that spawns the majority of sex trafficking crimes in the state — recently encompassing the Oakland Police Department in a high-profile scandal. Where elected officials and nonprofit groups have campaigns combating sex trafficking. Where there are billboards (!) fighting the issue. I mean, the word “bitch” is branded in our lexicon by \u003ca href=\"https://www.youtube.com/results?search_query=too+short+bitch\" target=\"_blank\" rel=\"noopener noreferrer\">one of our most popular musical icons\u003c/a> (who, incidentally, made the song “Freaky Tales,” which “Rake It Up” samples). You think I haven’t been to meeting or two about the misogynistic culture that exists in Oakland?\u003c/p>\n\u003caside class=\"pullquote alignright\">“I grew up not wanting to listen to R&B music because I thought that it’d make me gay.” \u003c/aside>\n\u003cp>But while discussing the elements of rape culture isn’t new around these parts, those conversations aren’t often held by artists. Schools, religious groups, and/or elected officials usually orchestrate these events. For a handful of artists to leverage their social clout, and invite fans of their work to discuss something that doesn’t necessarily coincide with their brand, was moving.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The majority of people in the room, too, were artists in some way or form. Some of the more thought-provoking statements I heard that evening:\u003c/p>\n\u003cp>“I grew up not wanting to listen to R&B music because I thought that it’d make me gay.”\u003c/p>\n\u003cp>“It doesn’t matter that she’s a stripper, just got off the pole and just clocked out — if she says no, don’t touch her.”\u003c/p>\n\u003cp>“Rape doesn’t wear a face, it’s not just one situation, it’s not just someone hiding in the bushes… it happens inside of families, schools and where people are supposed to be safe.”\u003c/p>\n\u003cp>“We’ve got to respect a man who stands up for women; go dumb for the right shit!”\u003c/p>\n\u003cp>“Art can help you move past the difficultly in explicitly stating something.”\u003c/p>\n\u003cp>“Men being raped is real.”\u003c/p>\n\u003cp>“Consent protects the man too, because nowadays women will say you’ve raped them when you haven’t.”\u003c/p>\n\u003cp>“A lot of men have maternal energy, hide it, and then lash out on women.”\u003c/p>\n\u003cp>“We need a culture of accountability — it starts with us first.”\u003c/p>\n\u003cfigure id=\"attachment_13810357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/rc4-800x322.jpg\" alt=\"Attendees at a conversation in East Oakland about rape culture and abusive relationships.\" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-800x322.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-768x309.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-960x387.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-240x97.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-375x151.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-520x209.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at a conversation in East Oakland about rape culture and abusive relationships. \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\">“A\u003c/span>rtists neglect the fact that it’s our responsibility to express our options on these kind of things,” Vivian told me during a phone call the following day. “We’re obligated to speak on these things.”\u003c/p>\n\u003cp>After talking to Vivian, I called Chose to debrief, asking him if he believes these discussions will change anything. “It’s comparable to how African-Americans handle police brutality; with time it can change, as long as we’re doing something about it,” Chose told me. “As long as the conversation is going on, and we’re holding people accountable.”\u003c/p>\n\u003cp>But it’s not a simple conquest. There are issues we face beyond holding your homeboys accountable. There are early seeds of it planted in us from the time we learn to socialize. Growing up in Oakland, I learned the game where you grabbed a girl’s butt and ran — even before I learned how to spell rape, let alone knew what it was.\u003c/p>\n\u003cp>It takes a dominant culture to conquer a dominant culture. I’d argue that the majority of people in that room — black and brown young people from Oakland, the South, Mexico, India and Fiji — know about someone’s culture intentionally destroying their own. There are entire industries built around rape culture. This country was founded on rape culture. How do we change that? Art? Organizing? Forming a new dominant culture to overthrow the old?\u003c/p>\n\u003cp>I don’t know if it’s possible, but one thing is sure: until we openly confront it, we can’t do anything about it. And this conversation was a baby step in the right direction. Hopefully there’ll be more to come, because Oakland needs it; the world needs 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>\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\">I\u003c/span>n an art studio in East Oakland two weeks ago, midway though a heavy group conversation about the elements of rape culture, the seductive bassline of the strip-club anthem “\u003ca href=\"https://www.youtube.com/watch?v=OrSadmwmmAs\" target=\"_blank\" rel=\"noopener noreferrer\">Rake It Up\u003c/a>” suddenly came blasting through the window.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>The majority of attendees — around 40 people — laughed at the irony. And then got back to the discussion, called to order by a talented photographer named \u003ca href=\"http://www.shotbychose.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Deario “Chose” Austin\u003c/a>, a skilled vocalist named Vivian Allen, a seasoned emcee named \u003ca href=\"https://soundcloud.com/AjGod\" target=\"_blank\" rel=\"noopener noreferrer\">Ajman Thrower\u003c/a> and a hardworking music producer named Mark Weiner (a.k.a. \u003ca href=\"https://mrmarstoday.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Mars Today\u003c/a>).\u003c/p>\n\u003cp>As the talk about navigating unhealthy relationships evolved from a venting session to a solution-based conversation, I took down every note I could. Quotes. Thoughts. Experiences. Suggestions. I left the discussion with two things in mind:\u003c/p>\n\u003cp>1. I have a lot to learn.\u003cbr>\n2. These discussions should continue.\u003c/p>\n\u003cfigure id=\"attachment_13810315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810315\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/rc3-800x500.jpg\" alt=\"Attendees at a conversation in East Oakland about rape culture and abusive relationships.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-1180x738.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-960x600.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-240x150.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-375x234.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc3-520x325.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at a conversation in East Oakland about rape culture and abusive relationships. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he discussion of “rape culture” isn’t new in Oakland. We’re talking about a place that spawns the majority of sex trafficking crimes in the state — recently encompassing the Oakland Police Department in a high-profile scandal. Where elected officials and nonprofit groups have campaigns combating sex trafficking. Where there are billboards (!) fighting the issue. I mean, the word “bitch” is branded in our lexicon by \u003ca href=\"https://www.youtube.com/results?search_query=too+short+bitch\" target=\"_blank\" rel=\"noopener noreferrer\">one of our most popular musical icons\u003c/a> (who, incidentally, made the song “Freaky Tales,” which “Rake It Up” samples). You think I haven’t been to meeting or two about the misogynistic culture that exists in Oakland?\u003c/p>\n\u003caside class=\"pullquote alignright\">“I grew up not wanting to listen to R&B music because I thought that it’d make me gay.” \u003c/aside>\n\u003cp>But while discussing the elements of rape culture isn’t new around these parts, those conversations aren’t often held by artists. Schools, religious groups, and/or elected officials usually orchestrate these events. For a handful of artists to leverage their social clout, and invite fans of their work to discuss something that doesn’t necessarily coincide with their brand, was moving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The majority of people in the room, too, were artists in some way or form. Some of the more thought-provoking statements I heard that evening:\u003c/p>\n\u003cp>“I grew up not wanting to listen to R&B music because I thought that it’d make me gay.”\u003c/p>\n\u003cp>“It doesn’t matter that she’s a stripper, just got off the pole and just clocked out — if she says no, don’t touch her.”\u003c/p>\n\u003cp>“Rape doesn’t wear a face, it’s not just one situation, it’s not just someone hiding in the bushes… it happens inside of families, schools and where people are supposed to be safe.”\u003c/p>\n\u003cp>“We’ve got to respect a man who stands up for women; go dumb for the right shit!”\u003c/p>\n\u003cp>“Art can help you move past the difficultly in explicitly stating something.”\u003c/p>\n\u003cp>“Men being raped is real.”\u003c/p>\n\u003cp>“Consent protects the man too, because nowadays women will say you’ve raped them when you haven’t.”\u003c/p>\n\u003cp>“A lot of men have maternal energy, hide it, and then lash out on women.”\u003c/p>\n\u003cp>“We need a culture of accountability — it starts with us first.”\u003c/p>\n\u003cfigure id=\"attachment_13810357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13810357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/rc4-800x322.jpg\" alt=\"Attendees at a conversation in East Oakland about rape culture and abusive relationships.\" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-800x322.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-160x64.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-768x309.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-1020x411.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-960x387.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-240x97.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-375x151.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4-520x209.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/rc4.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees at a conversation in East Oakland about rape culture and abusive relationships. \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\">“A\u003c/span>rtists neglect the fact that it’s our responsibility to express our options on these kind of things,” Vivian told me during a phone call the following day. “We’re obligated to speak on these things.”\u003c/p>\n\u003cp>After talking to Vivian, I called Chose to debrief, asking him if he believes these discussions will change anything. “It’s comparable to how African-Americans handle police brutality; with time it can change, as long as we’re doing something about it,” Chose told me. “As long as the conversation is going on, and we’re holding people accountable.”\u003c/p>\n\u003cp>But it’s not a simple conquest. There are issues we face beyond holding your homeboys accountable. There are early seeds of it planted in us from the time we learn to socialize. Growing up in Oakland, I learned the game where you grabbed a girl’s butt and ran — even before I learned how to spell rape, let alone knew what it was.\u003c/p>\n\u003cp>It takes a dominant culture to conquer a dominant culture. I’d argue that the majority of people in that room — black and brown young people from Oakland, the South, Mexico, India and Fiji — know about someone’s culture intentionally destroying their own. There are entire industries built around rape culture. This country was founded on rape culture. How do we change that? Art? Organizing? Forming a new dominant culture to overthrow the old?\u003c/p>\n\u003cp>I don’t know if it’s possible, but one thing is sure: until we openly confront it, we can’t do anything about it. And this conversation was a baby step in the right direction. Hopefully there’ll be more to come, because Oakland needs it; the world needs 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>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "America — and Colin Kaepernick — Need a New Contract",
"headTitle": "America — and Colin Kaepernick — Need a New Contract | 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\">E\u003c/span>xactly one year ago I took a photo of a mural of Colin Kaepernick. The mural, located on Telegraph Avenue in Oakland but now painted over, was inscribed with the words “We Got Your Back.” I posted the photo as I walked home from work, and it quickly became one of my most popular, \u003ca href=\"https://twitter.com/OGpenn/status/779138884269592577\" target=\"_blank\" rel=\"noopener noreferrer\">retweeted over 2,400 times\u003c/a>.\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>I wonder how the mural would’ve been received if the words “We Got Your Back” weren’t a part of it; instead, just Kaepernick. I mean, even a year ago, we all knew what he stood for — or rather, knelt for. His name has become synonymous with a silent protest, one that’s both ruffled feathers and inspired people.\u003c/p>\n\u003cp>And now, after this past weekend, the protest has grown to involve Steph, Stevie, LeBron, dozens of other athletes and even \u003ca href=\"https://www.cbssports.com/nfl/news/look-national-anthem-singers-at-two-different-nfl-games-took-a-knee-on-sunday/\" target=\"_blank\" rel=\"noopener noreferrer\">those who sing the national anthem\u003c/a>. It has spread far beyond the Bay Area, and is currently dominating the national conversation.\u003c/p>\n\u003cp>But with all that conversation, Kaepernick’s original goal — to protest police brutality and the unfair treatment of people of color — is lost among the chatter. Pundits, team owners and politicians have talked and talked and talked, and what has it gotten us? \u003ca href=\"https://twitter.com/GillianA/status/912497054454370305\" target=\"_blank\" rel=\"noopener noreferrer\">Hollow signs of solidarity from Hollywood\u003c/a> that miss the point, or the NFL, in \u003ca href=\"https://www.youtube.com/watch?v=Nkg64g45yeg\" target=\"_blank\" rel=\"noopener noreferrer\">a new commercial\u003c/a>, promoting a vague sense of “unity.” (This week’s \u003cem>Sports Illustrated\u003c/em> is dedicated to the protest, with 10 athletes, coaches, and owners featured on the cover. \u003ca href=\"https://twitter.com/SInow/status/912617770734338048/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">Kaepernick isn’t one of them\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it makes me think that Kaepernick’s on to something: What if we didn’t use the oppressor’s language to protest the oppression?\u003c/p>\n\u003cfigure id=\"attachment_13809507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-800x450.jpg\" alt=\"Stevie Wonder and his son Kwame Morris onstage during the 2017 Global Citizen Festival: For Freedom. For Justice. For All. in Central Park on September 23, 2017 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Wonder and his son Kwame Morris onstage during the 2017 Global Citizen Festival: For Freedom. For Justice. For All. in Central Park on September 23, 2017 in New York City. \u003ccite>(Angela Weiss/AFP/Getty Images)\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\">P\u003c/span>eople of color have been fighting white supremacy for years. Organizing. Protesting. Boycotting. “Fighting the power!” John Carlos and Tommie Smith did it with a raised fist during the 1968 Olympics. A silent shot fired. Their protest, and Kaepernick’s alike, make me think: to conquer white supremacy, you can’t use the English language.\u003c/p>\n\u003cp>That’s the language the “American Contract” was written in, signed by John Hancock and friends. White men who believed they were supreme. White men who were elected, chosen, ordained to govern the masses — that’s who made rules for this land. They spoke a language that the uneducated weren’t privy to, a language that women didn’t have access to, a language that enslaved Africans, who could be killed for reading and writing. English.\u003c/p>\n\u003caside class=\"pullquote alignright\">What if we didn’t use the oppressor’s language to protest the oppression?\u003c/aside>\n\u003cp>There have been amendments, alterations, and changes to both the contract and the language, but the signed document remains. And if we’re going to do away with white supremacy, and create a world where people have equal access to the pursuit of happiness, we’re going to need a new contract. We’re going to need new signatures on that contract. We’re going to need that contract to be a byproduct of a new way of thinking. And it’s going to have to be written in a new language.\u003c/p>\n\u003cp>The new “American contract” is going to have to be radical — something the world has never seen. I can’t even fathom what full equality would look like. For the disabled and bisexual, for Muslim and Mexican, for educated and incarcerated, for every ethnicity.\u003c/p>\n\u003cp>No stereotypes. No racism. No judgment. No supreme beings. No hierarchy. Just people.\u003c/p>\n\u003cp>“Equality”? Maybe that’s not the word for it. Maybe the English language doesn’t have a word to express the contract I’m striving for. Maybe we have to create it, this new language that isn’t rooted in white supremacy.\u003c/p>\n\u003cfigure id=\"attachment_13809581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809581\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Knee.NFL_-800x475.jpg\" alt=\"Justin Houston of the Kansas City Chiefs takes a knee during the National Anthem before a game against the Los Angeles Chargers, Sept. 24, 2017 in Carson, California. \" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Houston of the Kansas City Chiefs takes a knee during the National Anthem before a game against the Los Angeles Chargers, Sept. 24, 2017 in Carson, California. \u003ccite>(Sean M. Haffey/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he basic social contract is that citizens agree to follow the law, pay their taxes, and devote their love and loyalty to their country, and in exchange, the nation commits to preserve and protect and serve their interests, safeguard their freedom, and return to them in kind their first allegiance and loyalty.”\u003c/p>\n\u003cp>That’s along the lines of the kind of contract I’d want. It’d be wonderful to see it apply to all Americans, regardless of skin color, religion, sexual preference, disability, or any other defining factor. And if the above quote were to come out of the mouth of \u003ca href=\"https://www.brainyquote.com/quotes/quotes/j/jeffsessio754009.html\" target=\"_blank\" rel=\"noopener noreferrer\">someone other than Jeff Sessions\u003c/a> – who was once denied a federal judgeship by the Senate Judiciary Committee for literally being too racist, and who garnered the ire of none other than Corretta Scott King, the author, activist, civil rights leader, and wife of Martin Luther King, Jr. — that would make it a bit more convincing as well.\u003c/p>\n\u003cp>In the meantime, while the 240-year battle continues to prove that all men and women are equal, as the American contract states, we’re also waiting for Colin Kaepernick to get a new NFL contract. Because he shouldn’t be penalized for using his voice — or rather, protesting in silence.\u003c/p>\n\u003cp>I’m not fully clear on how to do this. But I am clear on one thing: if we’re going to create an equal society by fighting and eventually ending white supremacy — the thing that has been ingrained in America since before the formation of the union — we’re going to have to acknowledge its existence, not just in policing, politics, art and sports, but in something as mundane as language.\u003c/p>\n\u003cp>We’re going to have to change the way we talk about it. And we’re going to have to renegotiate this contract.\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, and a weekly columnist for KQED Arts. 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": "The national conversation on white supremacy is missing one thing from Kaepernick's silent protest: its use of a new language.",
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"headline": "America — and Colin Kaepernick — Need a New Contract",
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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\">E\u003c/span>xactly one year ago I took a photo of a mural of Colin Kaepernick. The mural, located on Telegraph Avenue in Oakland but now painted over, was inscribed with the words “We Got Your Back.” I posted the photo as I walked home from work, and it quickly became one of my most popular, \u003ca href=\"https://twitter.com/OGpenn/status/779138884269592577\" target=\"_blank\" rel=\"noopener noreferrer\">retweeted over 2,400 times\u003c/a>.\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>I wonder how the mural would’ve been received if the words “We Got Your Back” weren’t a part of it; instead, just Kaepernick. I mean, even a year ago, we all knew what he stood for — or rather, knelt for. His name has become synonymous with a silent protest, one that’s both ruffled feathers and inspired people.\u003c/p>\n\u003cp>And now, after this past weekend, the protest has grown to involve Steph, Stevie, LeBron, dozens of other athletes and even \u003ca href=\"https://www.cbssports.com/nfl/news/look-national-anthem-singers-at-two-different-nfl-games-took-a-knee-on-sunday/\" target=\"_blank\" rel=\"noopener noreferrer\">those who sing the national anthem\u003c/a>. It has spread far beyond the Bay Area, and is currently dominating the national conversation.\u003c/p>\n\u003cp>But with all that conversation, Kaepernick’s original goal — to protest police brutality and the unfair treatment of people of color — is lost among the chatter. Pundits, team owners and politicians have talked and talked and talked, and what has it gotten us? \u003ca href=\"https://twitter.com/GillianA/status/912497054454370305\" target=\"_blank\" rel=\"noopener noreferrer\">Hollow signs of solidarity from Hollywood\u003c/a> that miss the point, or the NFL, in \u003ca href=\"https://www.youtube.com/watch?v=Nkg64g45yeg\" target=\"_blank\" rel=\"noopener noreferrer\">a new commercial\u003c/a>, promoting a vague sense of “unity.” (This week’s \u003cem>Sports Illustrated\u003c/em> is dedicated to the protest, with 10 athletes, coaches, and owners featured on the cover. \u003ca href=\"https://twitter.com/SInow/status/912617770734338048/photo/1\" target=\"_blank\" rel=\"noopener noreferrer\">Kaepernick isn’t one of them\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it makes me think that Kaepernick’s on to something: What if we didn’t use the oppressor’s language to protest the oppression?\u003c/p>\n\u003cfigure id=\"attachment_13809507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809507\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-800x450.jpg\" alt=\"Stevie Wonder and his son Kwame Morris onstage during the 2017 Global Citizen Festival: For Freedom. For Justice. For All. in Central Park on September 23, 2017 in New York City.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Stevie-Wonder-kneeling-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stevie Wonder and his son Kwame Morris onstage during the 2017 Global Citizen Festival: For Freedom. For Justice. For All. in Central Park on September 23, 2017 in New York City. \u003ccite>(Angela Weiss/AFP/Getty Images)\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\">P\u003c/span>eople of color have been fighting white supremacy for years. Organizing. Protesting. Boycotting. “Fighting the power!” John Carlos and Tommie Smith did it with a raised fist during the 1968 Olympics. A silent shot fired. Their protest, and Kaepernick’s alike, make me think: to conquer white supremacy, you can’t use the English language.\u003c/p>\n\u003cp>That’s the language the “American Contract” was written in, signed by John Hancock and friends. White men who believed they were supreme. White men who were elected, chosen, ordained to govern the masses — that’s who made rules for this land. They spoke a language that the uneducated weren’t privy to, a language that women didn’t have access to, a language that enslaved Africans, who could be killed for reading and writing. English.\u003c/p>\n\u003caside class=\"pullquote alignright\">What if we didn’t use the oppressor’s language to protest the oppression?\u003c/aside>\n\u003cp>There have been amendments, alterations, and changes to both the contract and the language, but the signed document remains. And if we’re going to do away with white supremacy, and create a world where people have equal access to the pursuit of happiness, we’re going to need a new contract. We’re going to need new signatures on that contract. We’re going to need that contract to be a byproduct of a new way of thinking. And it’s going to have to be written in a new language.\u003c/p>\n\u003cp>The new “American contract” is going to have to be radical — something the world has never seen. I can’t even fathom what full equality would look like. For the disabled and bisexual, for Muslim and Mexican, for educated and incarcerated, for every ethnicity.\u003c/p>\n\u003cp>No stereotypes. No racism. No judgment. No supreme beings. No hierarchy. Just people.\u003c/p>\n\u003cp>“Equality”? Maybe that’s not the word for it. Maybe the English language doesn’t have a word to express the contract I’m striving for. Maybe we have to create it, this new language that isn’t rooted in white supremacy.\u003c/p>\n\u003cfigure id=\"attachment_13809581\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13809581\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Knee.NFL_-800x475.jpg\" alt=\"Justin Houston of the Kansas City Chiefs takes a knee during the National Anthem before a game against the Los Angeles Chargers, Sept. 24, 2017 in Carson, California. \" width=\"800\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-800x475.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-768x456.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-1020x606.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-1180x701.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-960x570.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-240x143.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-375x223.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Knee.NFL_-520x309.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Houston of the Kansas City Chiefs takes a knee during the National Anthem before a game against the Los Angeles Chargers, Sept. 24, 2017 in Carson, California. \u003ccite>(Sean M. Haffey/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he basic social contract is that citizens agree to follow the law, pay their taxes, and devote their love and loyalty to their country, and in exchange, the nation commits to preserve and protect and serve their interests, safeguard their freedom, and return to them in kind their first allegiance and loyalty.”\u003c/p>\n\u003cp>That’s along the lines of the kind of contract I’d want. It’d be wonderful to see it apply to all Americans, regardless of skin color, religion, sexual preference, disability, or any other defining factor. And if the above quote were to come out of the mouth of \u003ca href=\"https://www.brainyquote.com/quotes/quotes/j/jeffsessio754009.html\" target=\"_blank\" rel=\"noopener noreferrer\">someone other than Jeff Sessions\u003c/a> – who was once denied a federal judgeship by the Senate Judiciary Committee for literally being too racist, and who garnered the ire of none other than Corretta Scott King, the author, activist, civil rights leader, and wife of Martin Luther King, Jr. — that would make it a bit more convincing as well.\u003c/p>\n\u003cp>In the meantime, while the 240-year battle continues to prove that all men and women are equal, as the American contract states, we’re also waiting for Colin Kaepernick to get a new NFL contract. Because he shouldn’t be penalized for using his voice — or rather, protesting in silence.\u003c/p>\n\u003cp>I’m not fully clear on how to do this. But I am clear on one thing: if we’re going to create an equal society by fighting and eventually ending white supremacy — the thing that has been ingrained in America since before the formation of the union — we’re going to have to acknowledge its existence, not just in policing, politics, art and sports, but in something as mundane as language.\u003c/p>\n\u003cp>We’re going to have to change the way we talk about it. And we’re going to have to renegotiate this contract.\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, and a weekly columnist for KQED Arts. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Hip-Hop Oratorio Inspired by Loss",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Oakland musician, composer and band leader \u003c/span>\u003cspan style=\"font-weight: 400\">Joowan\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Kim is always ambitious, a hip-hop artist with classical rigor. Witness his newest effort, a hip hop oratorio called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Death Become Life, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">written for his\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"http://www.ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ensemble Mik Nawooj\u003c/a>, involving turf dancing, DJs and rappers, and a variation on the story of Orpheus and Eurydice — it’s about a girl trying to reclaim her life after the death of her boyfriend, and her journey to an underground party in search of his spirit.\u003c/span>\u003c/p>\n\u003cp>Joowan Kim told me he built the oratorio around what he called a prayer. “\u003cb>\u003ci>\u003c/i>\u003c/b>May good conquer evil, may light banish darkness and death become life,” something he said he wrote after losing his mother, grandfather and girlfriend in the same three-month period. “And we are very aware,” Kim continued, “of the environmental changes going on, and political changes, this horrible time. And we want to contribute to the positive transformation. And it’s inevitable actually, otherwise we will die, ‘we’ as in humanity.”\u003c/p>\n\u003cp>The music, including deconstructions of classic hip-hop from decades past, is more buoyant and optimistic than that description may sound. Witness the video below, or better yet, see the show at \u003ca href=\"https://proartsgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Arts Gallery in Oakland\u003c/a>. It’s cheap — just $5. \u003ca href=\"https://proartsgallery.org/event/ensemble-mik-nawooj-death-become-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=q6PfGFDNGN0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Oakland musician, composer and band leader \u003c/span>\u003cspan style=\"font-weight: 400\">Joowan\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">Kim is always ambitious, a hip-hop artist with classical rigor. Witness his newest effort, a hip hop oratorio called \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Death Become Life, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">written for his\u003c/span>\u003cspan style=\"font-weight: 400\"> \u003ca href=\"http://www.ensemblemiknawooj.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ensemble Mik Nawooj\u003c/a>, involving turf dancing, DJs and rappers, and a variation on the story of Orpheus and Eurydice — it’s about a girl trying to reclaim her life after the death of her boyfriend, and her journey to an underground party in search of his spirit.\u003c/span>\u003c/p>\n\u003cp>Joowan Kim told me he built the oratorio around what he called a prayer. “\u003cb>\u003ci>\u003c/i>\u003c/b>May good conquer evil, may light banish darkness and death become life,” something he said he wrote after losing his mother, grandfather and girlfriend in the same three-month period. “And we are very aware,” Kim continued, “of the environmental changes going on, and political changes, this horrible time. And we want to contribute to the positive transformation. And it’s inevitable actually, otherwise we will die, ‘we’ as in humanity.”\u003c/p>\n\u003cp>The music, including deconstructions of classic hip-hop from decades past, is more buoyant and optimistic than that description may sound. Witness the video below, or better yet, see the show at \u003ca href=\"https://proartsgallery.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Pro Arts Gallery in Oakland\u003c/a>. It’s cheap — just $5. \u003ca href=\"https://proartsgallery.org/event/ensemble-mik-nawooj-death-become-life/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/q6PfGFDNGN0'\n title='//www.youtube.com/embed/q6PfGFDNGN0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "'The North Pole': I Feel You",
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"content": "\u003cp>As the wave of people exited the Grand Lake Theater on Thursday night, I found myself shoulder to shoulder with former Black Panther Leader and current educator Ericka Huggins. Huggins, easily five inches taller than me, leaned in to hear me as I asked what she thought about the premiere we’d just seen of the satirical web series, \u003cem>The North Pole\u003c/em>.\u003c/p>\n\u003cp>Without hesitation, she responded, “I didn’t think about it, I \u003cem>felt\u003c/em> it.”\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>Ericka, I feel you.\u003c/p>\n\u003cp>From the moment I walked into the lobby, all the feelings were felt. I felt childhood memories of watching \u003cem>Jurassic Park\u003c/em> in that same theatre when I was 9 and running out mid-movie, scared of the huge dinosaurs. I felt the beauty of the present moment, surrounded by former co-workers, longtime friends, and people I don’t really know — but we’re “Facebook friends.” I saw people that owe me $5, as well as people that I owe my career to. I felt at home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nothing carries feelings like music, and \u003cem>The North Pole\u003c/em>’s soundtrack is no exception. I was dancing in my seat when Mistah Fab’s hyphy-era classic “\u003ca href=\"https://www.youtube.com/watch?v=vJbNS9T5WWY\" target=\"_blank\" rel=\"noopener noreferrer\">N.E.W. Oakland\u003c/a>” played, and I was nodding in approval when the storyline graciously intertwined Netta Brielle’s profound quote at the start of her song “\u003ca href=\"https://www.youtube.com/watch?v=kvTo6qouPao\" target=\"_blank\" rel=\"noopener noreferrer\">3xKrazy\u003c/a>”: “Nah, but I’m \u003cem>from\u003c/em> here, from here.”\u003c/p>\n\u003cfigure id=\"attachment_13808115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-800x449.jpg\" alt=\"W. Kamau Bell and Mistah Fab in 'The North Pole.'\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell and Mistah Fab in ‘The North Pole.’ \u003ccite>(Danny Telles/Courtesy Movement Generation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s part of why this web series works. It’s a valid comedic portrayal of what I know to be Oakland culture, weaved into a dramatic narrative that explores issues beyond the Bay Area.\u003c/p>\n\u003cp>It also serves as an important lesson for Hollywood — that it’s not enough to feature the culture of a people. Give light to the culture keepers; show the actual people! In \u003cem>The North Pole\u003c/em>, there are cameos by Ericka Huggins, Mistah Fab, W. Kamau Bell and many others. I was excited to see well-known poet and longtime friend Jazz Hudson’s appearance as a character who represents the “rare native,” shown donning a headwrap and big glasses, and comically analyzed by another character as “living off the land and Mac Dre mixtapes.”\u003c/p>\n\u003cp>In a later scene, my mentor and respected community elder Arnold Perkins was shown at the family reunion, drinking dark liquor and cracking jokes about masturbation. It made me feel a tad bit uneasy that a guy I know as a former Student Non-Violent Coordinating Committee member, who grew to be the head of the Alameda County Health Department, would be depicted as a dirty joke teller — but it felt good to see him the mix.\u003c/p>\n\u003cfigure id=\"attachment_13808045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808045\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-800x450.jpg\" alt=\"Nina (Reyna Amaya) gives a speech to her neighbors in 'The North Pole.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_.jpg 1067w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nina (Reyna Amaya) gives a speech to her neighbors in ‘The North Pole.’ \u003ccite>(Courtesy Movement Generation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once I was hooked by the music and cameos, the show’s storyline and writing sold me. The names of each episode are that of a nature show, as if you’re getting a glimpse into a certain habitat. The narrative arc connects gentrification and global warming, and a host of other issues (sexism, racism), which might seem like a stretch at first. Actually, if you’ve ever seen Spike Lee’s \u003cem>Red Hook Summer\u003c/em>, I think this is what he was trying to do: connect all the issues of the time, all at the same time.\u003c/p>\n\u003cp>But unlike Spike, producer Josh Healey and director Yvan Iturriaga get it to work. Though there are some overly dramatic interactions, and a couple of awkward moments or jokes that don’t really land, the overall message gets out.\u003c/p>\n\u003cp>That message is an important one: global warming and gentrification are byproducts of the same mindset. “Infinite expansion in a finite world,” as one character puts it, has led to the displacement of black folks from inner cities and polar bears from the North Pole alike. And because of that mindset, you now have a diaspora of African Americans who’ve been pushed out of their “urban habitats” and spread across suburban areas like Antioch and Stockton; you also have changes in Arctic migration patterns resulting in the phenomenon of polar bears mating with grizzly bears.\u003c/p>\n\u003cp>It’s a heavy lift, a big concept, a lot to show, and a lot of feelings to deal with.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg\" alt=\"Ericka Huggins and producer Josh Healy at the premiere for 'The North Pole' at the Grand Lake Theater in Oakland, Sept. 7, 2017.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I feel like people are going to question why a \u003ca href=\"http://joshhealey.org/bio/\" target=\"_blank\" rel=\"noopener noreferrer\">white guy who was raised in Washington, D.C.\u003c/a> can produce something about the Town. I feel like people are going to question why they didn’t see anything about homicides or robberies, and only a shot or two of a homeless person. I feel like people are going to question if polar bears are really mating with grizzly bears. (I looked it up, and it’s true: \u003ca href=\"https://www.theguardian.com/environment/2016/may/18/pizzly-grolar-bear-grizzly-polar-hybrid-climate-change\" target=\"_blank\" rel=\"noopener noreferrer\">the Pizzly Bear is a real thing\u003c/a>.)\u003c/p>\n\u003cp>But that’s what art is supposed to do. It’s supposed to provoke thought. It’s supposed to show societal issues and spawn conversation that will ultimately guide us toward solutions. It’s supposed to make us feel.\u003c/p>\n\u003cp>And prior to Ericka Huggins telling me that she felt the show, I felt it too. I just didn’t know how to put it into words… until now.\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>\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, and a weekly columnist for KQED Arts. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The North Pole’ premieres online Tuesday, Sept. 12, with all seven episodes available to watch in their entirety. \u003ca href=\"http://www.thenorthpoleshow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">See the show and learn more about it here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the wave of people exited the Grand Lake Theater on Thursday night, I found myself shoulder to shoulder with former Black Panther Leader and current educator Ericka Huggins. Huggins, easily five inches taller than me, leaned in to hear me as I asked what she thought about the premiere we’d just seen of the satirical web series, \u003cem>The North Pole\u003c/em>.\u003c/p>\n\u003cp>Without hesitation, she responded, “I didn’t think about it, I \u003cem>felt\u003c/em> it.”\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>Ericka, I feel you.\u003c/p>\n\u003cp>From the moment I walked into the lobby, all the feelings were felt. I felt childhood memories of watching \u003cem>Jurassic Park\u003c/em> in that same theatre when I was 9 and running out mid-movie, scared of the huge dinosaurs. I felt the beauty of the present moment, surrounded by former co-workers, longtime friends, and people I don’t really know — but we’re “Facebook friends.” I saw people that owe me $5, as well as people that I owe my career to. I felt at home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nothing carries feelings like music, and \u003cem>The North Pole\u003c/em>’s soundtrack is no exception. I was dancing in my seat when Mistah Fab’s hyphy-era classic “\u003ca href=\"https://www.youtube.com/watch?v=vJbNS9T5WWY\" target=\"_blank\" rel=\"noopener noreferrer\">N.E.W. Oakland\u003c/a>” played, and I was nodding in approval when the storyline graciously intertwined Netta Brielle’s profound quote at the start of her song “\u003ca href=\"https://www.youtube.com/watch?v=kvTo6qouPao\" target=\"_blank\" rel=\"noopener noreferrer\">3xKrazy\u003c/a>”: “Nah, but I’m \u003cem>from\u003c/em> here, from here.”\u003c/p>\n\u003cfigure id=\"attachment_13808115\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808115\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-800x449.jpg\" alt=\"W. Kamau Bell and Mistah Fab in 'The North Pole.'\" width=\"800\" height=\"449\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-960x539.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Kamau_.Fab_.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">W. Kamau Bell and Mistah Fab in ‘The North Pole.’ \u003ccite>(Danny Telles/Courtesy Movement Generation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’s part of why this web series works. It’s a valid comedic portrayal of what I know to be Oakland culture, weaved into a dramatic narrative that explores issues beyond the Bay Area.\u003c/p>\n\u003cp>It also serves as an important lesson for Hollywood — that it’s not enough to feature the culture of a people. Give light to the culture keepers; show the actual people! In \u003cem>The North Pole\u003c/em>, there are cameos by Ericka Huggins, Mistah Fab, W. Kamau Bell and many others. I was excited to see well-known poet and longtime friend Jazz Hudson’s appearance as a character who represents the “rare native,” shown donning a headwrap and big glasses, and comically analyzed by another character as “living off the land and Mac Dre mixtapes.”\u003c/p>\n\u003cp>In a later scene, my mentor and respected community elder Arnold Perkins was shown at the family reunion, drinking dark liquor and cracking jokes about masturbation. It made me feel a tad bit uneasy that a guy I know as a former Student Non-Violent Coordinating Committee member, who grew to be the head of the Alameda County Health Department, would be depicted as a dirty joke teller — but it felt good to see him the mix.\u003c/p>\n\u003cfigure id=\"attachment_13808045\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808045\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-800x450.jpg\" alt=\"Nina (Reyna Amaya) gives a speech to her neighbors in 'The North Pole.'\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/NorthPole.Reyna_.Stoop_.jpg 1067w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nina (Reyna Amaya) gives a speech to her neighbors in ‘The North Pole.’ \u003ccite>(Courtesy Movement Generation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once I was hooked by the music and cameos, the show’s storyline and writing sold me. The names of each episode are that of a nature show, as if you’re getting a glimpse into a certain habitat. The narrative arc connects gentrification and global warming, and a host of other issues (sexism, racism), which might seem like a stretch at first. Actually, if you’ve ever seen Spike Lee’s \u003cem>Red Hook Summer\u003c/em>, I think this is what he was trying to do: connect all the issues of the time, all at the same time.\u003c/p>\n\u003cp>But unlike Spike, producer Josh Healey and director Yvan Iturriaga get it to work. Though there are some overly dramatic interactions, and a couple of awkward moments or jokes that don’t really land, the overall message gets out.\u003c/p>\n\u003cp>That message is an important one: global warming and gentrification are byproducts of the same mindset. “Infinite expansion in a finite world,” as one character puts it, has led to the displacement of black folks from inner cities and polar bears from the North Pole alike. And because of that mindset, you now have a diaspora of African Americans who’ve been pushed out of their “urban habitats” and spread across suburban areas like Antioch and Stockton; you also have changes in Arctic migration patterns resulting in the phenomenon of polar bears mating with grizzly bears.\u003c/p>\n\u003cp>It’s a heavy lift, a big concept, a lot to show, and a lot of feelings to deal with.\u003c/p>\n\u003cfigure id=\"attachment_13808051\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13808051\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg\" alt=\"Ericka Huggins and producer Josh Healy at the premiere for 'The North Pole' at the Grand Lake Theater in Oakland, Sept. 7, 2017.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-1180x788.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/ErickaJosh.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ericka Huggins and producer Josh Healy at the premiere for ‘The North Pole’ at the Grand Lake Theater in Oakland, Sept. 7, 2017. \u003ccite>(Brooke Anderson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I feel like people are going to question why a \u003ca href=\"http://joshhealey.org/bio/\" target=\"_blank\" rel=\"noopener noreferrer\">white guy who was raised in Washington, D.C.\u003c/a> can produce something about the Town. I feel like people are going to question why they didn’t see anything about homicides or robberies, and only a shot or two of a homeless person. I feel like people are going to question if polar bears are really mating with grizzly bears. (I looked it up, and it’s true: \u003ca href=\"https://www.theguardian.com/environment/2016/may/18/pizzly-grolar-bear-grizzly-polar-hybrid-climate-change\" target=\"_blank\" rel=\"noopener noreferrer\">the Pizzly Bear is a real thing\u003c/a>.)\u003c/p>\n\u003cp>But that’s what art is supposed to do. It’s supposed to provoke thought. It’s supposed to show societal issues and spawn conversation that will ultimately guide us toward solutions. It’s supposed to make us feel.\u003c/p>\n\u003cp>And prior to Ericka Huggins telling me that she felt the show, I felt it too. I just didn’t know how to put it into words… until now.\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>\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, and a weekly columnist for KQED Arts. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The North Pole’ premieres online Tuesday, Sept. 12, with all seven episodes available to watch in their entirety. \u003ca href=\"http://www.thenorthpoleshow.com/\" target=\"_blank\" rel=\"noopener noreferrer\">See the show and learn more about it here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Beauty of Changes, in Oakland and Beyond",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>y name’s Pendarvis Harshaw. I was raised in Oakland, and find passion in reading, writing, educating and biking… Oh, and \u003ca href=\"https://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">talking to OGs about their life experiences\u003c/a>, but that’s another story.\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>In my free time, I like walking on beaches and watching the process of creation and destruction. This past summer I was near Monterey Bay, and I saw a sandcastle built and then destroyed all in one day. And it made me smile.\u003c/p>\n\u003cp>Why would it make me smile? Because it was relieving to see something so carefully constructed and then rapidly demolished. Relieving because humans constantly compete with time and attempt to build things that last, when we all know that nothing is forever. Change is coming. And after that will be more change. It’s best to accept it.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here was once a mural of Oakland baseball legend Rickey Henderson on the backside of a club venue on the corner of Third and Washington Streets in Oakland’s Jack London District. The artist, \u003ca href=\"https://www.instagram.com/amendtdk/\" target=\"_blank\" rel=\"noopener noreferrer\">Amend\u003c/a>, who I met while he was in the process of completing the mural, told me how Henderson himself stopped by and gave a hat tip of approval of the piece. It was the ultimate honor in Amend’s quest to show the Town to itself, an appreciation for our culture in spite of the “changes” going on right now.\u003c/p>\n\u003cp>Not too long after completion of the artwork, the building changed ownership, and the mural was painted over with an extra-dark black coat of paint.\u003c/p>\n\u003cfigure id=\"attachment_13807707\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807707\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Amend.jpg\" alt=\"Amend shows a passerby his A's mural-in-progress in Jack London Square.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amend shows a passerby his A’s mural-in-progress in Jack London Square. \u003ccite>(@amendtdk / via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, I still have photos of Amend’s work; even more importantly, I’m inspired by his efforts. There is honor in creating a moment of beauty in the face of impermanence.\u003c/p>\n\u003cp>And that’s who inspires me. The “live for the moment” kind of people. The people who leave their own mark, in their own hand. The people who say: I know this isn’t going to last forever, but dammit, while it’s here it’s going to be \u003cem>beautiful\u003c/em>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2017 alone we’ve witnessed dramatic examples of destruction. The manmade disaster of the current administration is rivaled only by the natural disasters of the past few weeks, with \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2017/09/04/texas-continues-harvey-recovery-efforts-as-hurricane-irma-looms-in-the-atlantic/?utm_term=.1abdd95b4e57\" target=\"_blank\" rel=\"noopener noreferrer\">two hurricanes\u003c/a> and \u003ca href=\"https://www.usatoday.com/story/news/2017/09/03/19-wildfires-burn-california/629963001/\" target=\"_blank\" rel=\"noopener noreferrer\">dozens of wildfires\u003c/a>.\u003c/p>\n\u003caside class=\"pullquote alignright\">That’s who inspires me. The people who say: I know this isn’t going to last forever, but dammit, while it’s here it’s going to be beautiful.\u003c/aside>\n\u003cp>This year, we’ve also witnessed blossoms of benevolent change, sprouted from seeds planted long ago. Racist structures are being toppled, physically and metaphorically. Gender biases are readily being questioned, challenged and slowly dismantled. Socially acceptable language, symbols and customs continue to be in flux. And for better or for worse, demographics are shifting in inner cites all around the United States, changing the culture of the community — and the electoral landscape.\u003c/p>\n\u003cp>I’m a firm believer in two things. Number One, that humans cannot effectively progress if we are divided. And Number Two, that I’m not the only believer in Number One.\u003c/p>\n\u003cp>While there are divisions, they won’t last long.\u003c/p>\n\u003cp>There are people who enjoy the rich culture of Oakland, but that won’t last long if you keep displacing the culture creators and keepers. There are employers who underpay African-American women, while relying on them to fuel the economy — that won’t last long either. And there are those in a system that deports, incarcerates and subjugates members of the immigrant community while enjoying the fruits of their labor — that’s simply not sustainable.\u003c/p>\n\u003cp>There are people building sandcastles on the beach while global warming causes sea levels to rise.\u003c/p>\n\u003cp>We are given whatever time we are given. We had no say in when it started, nor do we know when it will end. But that doesn’t mean that we can’t build something meaningful, purposeful and beautiful while we’re here, even if it only lasts until the next big wave wipes it away.\u003c/p>\n\u003cfigure id=\"attachment_13807717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_.jpg\" alt=\"The completed A"s 'STAY' mural in Jack London Square.\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-768x389.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-240x122.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-375x190.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-520x263.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The completed A”s ‘STAY’ mural in Jack London Square, before it was covered in black paint.\u003c/figcaption>\u003c/figure>\n\u003cp>And so I’ll be here each week, documenting meaningful, purposeful and beautiful things. I ask that you \u003ca href=\"https://twitter.com/OGpenn\" target=\"_blank\" rel=\"noopener noreferrer\">send comments, critiques and questions\u003c/a>; become participants in the construction of this work of art I call a column, for again, we evolve better when we work together.\u003c/p>\n\u003cp>And finally, I ask that you go out there and create something beautiful. Something that isn’t built to withstand the test of time, but something that’ll be appreciated now. Something that will right the wrongs of the past, despite the fact more wrongs will manifest. Something that will inspire the future dwellers of this earth to create magnificent castles — no matter what changes may come.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>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": "These days, beauty is erased almost as soon as it's created — but that's no reason for us to stop leaving our mark.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">M\u003c/span>y name’s Pendarvis Harshaw. I was raised in Oakland, and find passion in reading, writing, educating and biking… Oh, and \u003ca href=\"https://ogtoldme.tumblr.com/\" target=\"_blank\" rel=\"noopener noreferrer\">talking to OGs about their life experiences\u003c/a>, but that’s another story.\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>In my free time, I like walking on beaches and watching the process of creation and destruction. This past summer I was near Monterey Bay, and I saw a sandcastle built and then destroyed all in one day. And it made me smile.\u003c/p>\n\u003cp>Why would it make me smile? Because it was relieving to see something so carefully constructed and then rapidly demolished. Relieving because humans constantly compete with time and attempt to build things that last, when we all know that nothing is forever. Change is coming. And after that will be more change. It’s best to accept it.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here was once a mural of Oakland baseball legend Rickey Henderson on the backside of a club venue on the corner of Third and Washington Streets in Oakland’s Jack London District. The artist, \u003ca href=\"https://www.instagram.com/amendtdk/\" target=\"_blank\" rel=\"noopener noreferrer\">Amend\u003c/a>, who I met while he was in the process of completing the mural, told me how Henderson himself stopped by and gave a hat tip of approval of the piece. It was the ultimate honor in Amend’s quest to show the Town to itself, an appreciation for our culture in spite of the “changes” going on right now.\u003c/p>\n\u003cp>Not too long after completion of the artwork, the building changed ownership, and the mural was painted over with an extra-dark black coat of paint.\u003c/p>\n\u003cfigure id=\"attachment_13807707\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807707\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Amend.jpg\" alt=\"Amend shows a passerby his A's mural-in-progress in Jack London Square.\" width=\"640\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Amend-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Amend shows a passerby his A’s mural-in-progress in Jack London Square. \u003ccite>(@amendtdk / via Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Luckily, I still have photos of Amend’s work; even more importantly, I’m inspired by his efforts. There is honor in creating a moment of beauty in the face of impermanence.\u003c/p>\n\u003cp>And that’s who inspires me. The “live for the moment” kind of people. The people who leave their own mark, in their own hand. The people who say: I know this isn’t going to last forever, but dammit, while it’s here it’s going to be \u003cem>beautiful\u003c/em>.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n 2017 alone we’ve witnessed dramatic examples of destruction. The manmade disaster of the current administration is rivaled only by the natural disasters of the past few weeks, with \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2017/09/04/texas-continues-harvey-recovery-efforts-as-hurricane-irma-looms-in-the-atlantic/?utm_term=.1abdd95b4e57\" target=\"_blank\" rel=\"noopener noreferrer\">two hurricanes\u003c/a> and \u003ca href=\"https://www.usatoday.com/story/news/2017/09/03/19-wildfires-burn-california/629963001/\" target=\"_blank\" rel=\"noopener noreferrer\">dozens of wildfires\u003c/a>.\u003c/p>\n\u003caside class=\"pullquote alignright\">That’s who inspires me. The people who say: I know this isn’t going to last forever, but dammit, while it’s here it’s going to be beautiful.\u003c/aside>\n\u003cp>This year, we’ve also witnessed blossoms of benevolent change, sprouted from seeds planted long ago. Racist structures are being toppled, physically and metaphorically. Gender biases are readily being questioned, challenged and slowly dismantled. Socially acceptable language, symbols and customs continue to be in flux. And for better or for worse, demographics are shifting in inner cites all around the United States, changing the culture of the community — and the electoral landscape.\u003c/p>\n\u003cp>I’m a firm believer in two things. Number One, that humans cannot effectively progress if we are divided. And Number Two, that I’m not the only believer in Number One.\u003c/p>\n\u003cp>While there are divisions, they won’t last long.\u003c/p>\n\u003cp>There are people who enjoy the rich culture of Oakland, but that won’t last long if you keep displacing the culture creators and keepers. There are employers who underpay African-American women, while relying on them to fuel the economy — that won’t last long either. And there are those in a system that deports, incarcerates and subjugates members of the immigrant community while enjoying the fruits of their labor — that’s simply not sustainable.\u003c/p>\n\u003cp>There are people building sandcastles on the beach while global warming causes sea levels to rise.\u003c/p>\n\u003cp>We are given whatever time we are given. We had no say in when it started, nor do we know when it will end. But that doesn’t mean that we can’t build something meaningful, purposeful and beautiful while we’re here, even if it only lasts until the next big wave wipes it away.\u003c/p>\n\u003cfigure id=\"attachment_13807717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13807717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_.jpg\" alt=\"The completed A"s 'STAY' mural in Jack London Square.\" width=\"800\" height=\"405\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-768x389.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-240x122.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-375x190.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/Oakland.TDK_.As_-520x263.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The completed A”s ‘STAY’ mural in Jack London Square, before it was covered in black paint.\u003c/figcaption>\u003c/figure>\n\u003cp>And so I’ll be here each week, documenting meaningful, purposeful and beautiful things. I ask that you \u003ca href=\"https://twitter.com/OGpenn\" target=\"_blank\" rel=\"noopener noreferrer\">send comments, critiques and questions\u003c/a>; become participants in the construction of this work of art I call a column, for again, we evolve better when we work together.\u003c/p>\n\u003cp>And finally, I ask that you go out there and create something beautiful. Something that isn’t built to withstand the test of time, but something that’ll be appreciated now. Something that will right the wrongs of the past, despite the fact more wrongs will manifest. Something that will inspire the future dwellers of this earth to create magnificent castles — no matter what changes may come.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hiero Day 2017: Six Rising Artists Not to Miss this Year",
"headTitle": "Hiero Day 2017: Six Rising Artists Not to Miss this Year | KQED",
"content": "\u003cp>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a> is a homegrown Oakland tradition — an all-day, family-friendly block party celebrating the musical legacy of \u003ca href=\"http://www.hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> and the ’90s hip-hop scene that gave them their rise. While the legendary conscious hip-hop collective closes out each year’s Labor Day festival (in a new location this year, on 18th and Poplar Streets in West Oakland), this year’s edition features plenty of hometown heroes and big-name national acts. \u003c/p>\n\u003cp>Artists not to miss include Oakland’s first lady of R&B, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/17/goapele-keeps-weaves-sultry-rb-with-activism-on-dreamseeker/\" target=\"_blank\" rel=\"noopener\">Goapele\u003c/a>; Texas giant \u003ca href=\"https://twitter.com/bunbtrillog?lang=en\" target=\"_blank\" rel=\"noopener\">Bun B\u003c/a>; underground hip-hop champions \u003ca href=\"https://www.youtube.com/watch?v=oiusDE0KND8\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a>; pioneering female gangsta rapper \u003ca href=\"https://www.youtube.com/watch?v=_rJe2tOS90E\" target=\"_blank\" rel=\"noopener\">Yo-Yo\u003c/a>; rising Richmond singer \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>; and, of course, \u003ca href=\"https://www.eastbayexpress.com/oakland/communing-with-the-based-god/Content?oid=4604909\" target=\"_blank\" rel=\"noopener\">Lil B the Based God\u003c/a>. But other than these oft-talked-about performers, Hiero Day features many up-and-coming artists worthy of attention. To help you navigate the fest, we’ve rounded up six must-see rising artists who might not be on your radar. \u003c/p>\n\u003cp>https://youtu.be/8dOySPXcC1M\u003c/p>\n\u003ch3>YMTK\u003c/h3>\n\u003cp>YMTK got his start singing in church in his native Oakland, and his soulful sensibilities shine through his paradisiacal, sun-soaked party jams. The L.A.-based singer’s velvety R&B vocals glide over house beats and trunk-shaking Town bass lines alike. \u003c/p>\n\u003cp>https://youtu.be/fiW9qdxlZg0\u003c/p>\n\u003ch3>Ezale\u003c/h3>\n\u003cp>Ezale represents the East Oakland neighborhood Funktown, named for a gang that reigned the area in the ’80s. But his neighborhood’s nickname also describes the exuberant rapper’s old-school, funky sound. His street anthems “Five Minutes of Funktown” and “Too High” have made him a local favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/323113399″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /] \u003c/p>\n\u003ch3>Arumi\u003c/h3>\n\u003cp>Too $hort and jazz piano? Chopped-and-screwed baile funk? No blend of artists and genres is off-limits for San Francisco DJ-producer Arumi, whose sets can go from challenging and experimental to infectiously groovy in a matter of seconds. Her production credits include “\u003ca href=\"https://soundcloud.com/siribo510/come-with-me-prod-by-aarumi?in=aarumi/sets/collabs\" target=\"_blank\" rel=\"noopener\">Come With Me\u003c/a>” by Siri, a Hiero Day alum and daughter of Souls of Mischief’s Tajai. \u003c/p>\n\u003cp>https://youtu.be/jI56LrPKMqo\u003c/p>\n\u003ch3>Saba\u003c/h3>\n\u003cp>Chicago rapper Saba came up in the same scene as Chance the Rapper and Noname, and his work is similarly contemplative, jazzy, and poetic. His latest mixtape, \u003cem>Bucket List\u003c/em>, unfurls like a kaleidoscope of hopes and dreams interspersed with reflections on somber topics like gentrification. Saba has a substantial Bay Area following thanks to his feature on Oakland rapper Elujay’s acclaimed single “\u003ca href=\"https://youtu.be/-iWRuckbSEQ\">Soul Food\u003c/a>.”\u003c/p>\n\u003cp>https://youtu.be/QQzRU8IC0mg\u003c/p>\n\u003ch3>G Perico\u003c/h3>\n\u003cp>G Perico could be seen as the blue-bandana analogue to YG, L.A.’s foremost contemporary gangsta rapper. Perico’s latest project, \u003ci>All Blue\u003c/i>, bobs along to a G-funk bounce, its menacing bass lines underscoring the rapper’s heart-racing tales of life as an outlaw in South Central.\u003c/p>\n\u003cp>https://youtu.be/vV71CEm-svU\u003c/p>\n\u003ch3>Duckwrth\u003c/h3>\n\u003cp>L.A. rapper and singer Duckwrth got his start in music as a student at San Francisco’s Academy of Art, but has since relocated back to his hometown. His sound traverses hip-hop, punk, glam rock, funk, and R&B — but through it all, he transgresses the boundaries of both genre and gender, playing with sensuality and subverting expectations of masculinity along the way. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"alignnone size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hiero Day gets underway with music, food, a kids’ area, live art and more on Monday, Sept. 4, at 18th and Poplar (near deFremery Park) in West Oakland. \u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Come for big-name artists like Goapele, Hieroglyphics, and Bun B, but stay for these formidable underground acts. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.hieroday.com/\" target=\"_blank\" rel=\"noopener\">Hiero Day\u003c/a> is a homegrown Oakland tradition — an all-day, family-friendly block party celebrating the musical legacy of \u003ca href=\"http://www.hieroglyphics.com/\" target=\"_blank\" rel=\"noopener\">Hieroglyphics\u003c/a> and the ’90s hip-hop scene that gave them their rise. While the legendary conscious hip-hop collective closes out each year’s Labor Day festival (in a new location this year, on 18th and Poplar Streets in West Oakland), this year’s edition features plenty of hometown heroes and big-name national acts. \u003c/p>\n\u003cp>Artists not to miss include Oakland’s first lady of R&B, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/17/goapele-keeps-weaves-sultry-rb-with-activism-on-dreamseeker/\" target=\"_blank\" rel=\"noopener\">Goapele\u003c/a>; Texas giant \u003ca href=\"https://twitter.com/bunbtrillog?lang=en\" target=\"_blank\" rel=\"noopener\">Bun B\u003c/a>; underground hip-hop champions \u003ca href=\"https://www.youtube.com/watch?v=oiusDE0KND8\" target=\"_blank\" rel=\"noopener\">Dead Prez\u003c/a>; pioneering female gangsta rapper \u003ca href=\"https://www.youtube.com/watch?v=_rJe2tOS90E\" target=\"_blank\" rel=\"noopener\">Yo-Yo\u003c/a>; rising Richmond singer \u003ca href=\"https://ww2.kqed.org/arts/2017/03/20/rayana-jay-wants-to-talk-about-your-messy-breakup/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>; and, of course, \u003ca href=\"https://www.eastbayexpress.com/oakland/communing-with-the-based-god/Content?oid=4604909\" target=\"_blank\" rel=\"noopener\">Lil B the Based God\u003c/a>. But other than these oft-talked-about performers, Hiero Day features many up-and-coming artists worthy of attention. To help you navigate the fest, we’ve rounded up six must-see rising artists who might not be on your radar. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8dOySPXcC1M'\n title='//www.youtube.com/embed/8dOySPXcC1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>YMTK\u003c/h3>\n\u003cp>YMTK got his start singing in church in his native Oakland, and his soulful sensibilities shine through his paradisiacal, sun-soaked party jams. The L.A.-based singer’s velvety R&B vocals glide over house beats and trunk-shaking Town bass lines alike. \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fiW9qdxlZg0'\n title='//www.youtube.com/embed/fiW9qdxlZg0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Ezale\u003c/h3>\n\u003cp>Ezale represents the East Oakland neighborhood Funktown, named for a gang that reigned the area in the ’80s. But his neighborhood’s nickname also describes the exuberant rapper’s old-school, funky sound. His street anthems “Five Minutes of Funktown” and “Too High” have made him a local favorite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Since Korean-born performance artist Dohee Lee’s arrival to the Bay Area in 2002, she’s been a force on the traditional and contemporary performing arts scenes — from her work with the Korean Youth Cultural Center to collaborating with experimental dance pioneer Anna Halprin and performing with Kronos Quartet.\u003c/p>\n\u003cp>The 42-year-old native of South Korea’s Jeju Island has also been a vital connector for other struggling immigrant and refugee communities. “Even though we are all different people from different countries, coming here to build new home and community, and everything as a human being, is the same,” says Lee.\u003c/p>\n\u003cp>In Korea, Lee studied traditional dance and music rooted in ancient Shamanistic ritual. When Lee toured the Bay Area as a guest performer in 2000, she was captivated by the freedom and spirit of experimentation she felt here, and two years later decided to emigrate here. Today her work often incorporates improvised movement, electronic music and video projections, creating an amalgam of old and new. “I’m reaching for an unknown place, while respecting my history,” says Lee.\u003c/p>\n\u003cp>For \u003cem>Ara Ritual II: Time Weaves\u003c/em>, staged at Eastside Cultural Center in Oakland earlier this year, Lee partnered with the Bay Area Bhutanese Youth group and the immigrant and refugee artists collective CoRazOn. In a series of workshops Lee organized and led, participants explored through movement, drawing and singing how home connects to the physical body, land and ocean. “My experience working with Dohee has been very empowering and a deep healing process,” says Robin Gurung, a refugee from Bhutan. “It has helped me find my voice.”\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=\"Q.Logo.Break\" 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\u003cdiv class=\"hzWrap-side\">\n\u003cdiv class=\"hzload\" style=\"width: 200px;padding: 10px;margin: auto;text-align: center;background-color: #fff\">\n\u003cp>\u003cimg decoding=\"async\" style=\"width: 75px\" src=\"//huzzaz.com/images/hzload.gif\" alt=\"loading videos\">\u003c/p>\n\u003cdiv>Loading Videos…\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "Korean-Born Artist Raises Immigrant Voices Through Performance | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since Korean-born performance artist Dohee Lee’s arrival to the Bay Area in 2002, she’s been a force on the traditional and contemporary performing arts scenes — from her work with the Korean Youth Cultural Center to collaborating with experimental dance pioneer Anna Halprin and performing with Kronos Quartet.\u003c/p>\n\u003cp>The 42-year-old native of South Korea’s Jeju Island has also been a vital connector for other struggling immigrant and refugee communities. “Even though we are all different people from different countries, coming here to build new home and community, and everything as a human being, is the same,” says Lee.\u003c/p>\n\u003cp>In Korea, Lee studied traditional dance and music rooted in ancient Shamanistic ritual. When Lee toured the Bay Area as a guest performer in 2000, she was captivated by the freedom and spirit of experimentation she felt here, and two years later decided to emigrate here. Today her work often incorporates improvised movement, electronic music and video projections, creating an amalgam of old and new. “I’m reaching for an unknown place, while respecting my history,” says Lee.\u003c/p>\n\u003cp>For \u003cem>Ara Ritual II: Time Weaves\u003c/em>, staged at Eastside Cultural Center in Oakland earlier this year, Lee partnered with the Bay Area Bhutanese Youth group and the immigrant and refugee artists collective CoRazOn. In a series of workshops Lee organized and led, participants explored through movement, drawing and singing how home connects to the physical body, land and ocean. “My experience working with Dohee has been very empowering and a deep healing process,” says Robin Gurung, a refugee from Bhutan. “It has helped me find my voice.”\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=\"Q.Logo.Break\" 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\u003cdiv class=\"hzWrap-side\">\n\u003cdiv class=\"hzload\" style=\"width: 200px;padding: 10px;margin: auto;text-align: center;background-color: #fff\">\n\u003cp>\u003cimg decoding=\"async\" style=\"width: 75px\" src=\"//huzzaz.com/images/hzload.gif\" alt=\"loading videos\">\u003c/p>\n\u003cdiv>Loading Videos…\u003c/div>\n\u003c/div>\n\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'We Who Work' Pays Tribute to Those Laboring in Santa Cruz and Beyond",
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"content": "\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/311005606″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of \u003ca href=\"http://www.hungliu.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hung Liu\u003c/a>’s art starts with an old, black and white photograph from China. Most of the subjects in the photos are anonymous.\u003c/p>\n\u003cp>“You don’t know anything about this person,” says the Chinese-American artist from Oakland. The anonymity, she explains, gives her the freedom to take something specific and universalize it. “I will never know her name, but her image will be enshrined, in a way.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12667846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>Take one photo of an old woman cooking on a big stove that became the inspiration for \u003cem>Luzao (Stove)\u003c/em>, pictured above. “Definitely, she’s not cooking for herself,” Liu says. “Reminds me a little of my grandma. She made shoes, but she cooked every day, day in, day out.”\u003c/p>\n\u003cp>The image of the woman is laid over an old map, to suggest she’s cooking for the world. Geese and fish fly by, and an old scholar waits in the corner for his dinner. Liu chuckles, looking at him. He’s every arrogant, effete intellectual humbled by the rumble in his belly. “Without women cooking, nothing can exist,” she says.\u003c/p>\n\u003cfigure id=\"attachment_12856704\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856704\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg\" alt=\"Mother, Daughter, and the River, 2016 by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat.\" width=\"800\" height=\"456\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-800x456.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-160x91.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-768x437.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-960x547.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut-520x296.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24487_5219499-qut.jpg 962w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Mother, Daughter, and the River’ (2016), by Hung Liu. A Chinese mother and daughter pull a boat upstream with ropes tied to their backs. Liu often drips linseed oil over her paintings, in this case, signifying rain, tears and sweat. \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The paintings, prints and tapestries of \u003cem>We Who Work\u003c/em>, now showing at the \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">Santa Cruz Museum of Art & History\u003c/a>, are both dreamy and provocative, surreal yet grounded in Liu’s respect for hard labor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The idea is to make the invisible visible: “The people who actually work in the field, on the street, in the back of the kitchen,” Liu says. “They need to be returned to their dignity, to be honored,” adding with a wry smile, “maybe more important than rich and famous people.”\u003c/p>\n\u003cp>“All work is beautiful, in its own way,” says curator Nora Grant, adding that Liu “animates and enlarges” the struggle of the lives she depicts, “creating a new kind of truth.”\u003c/p>\n\u003cfigure id=\"attachment_12856909\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12856909 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg\" alt=\"Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu's pieces in "We Who Work" depict women. "They suffer, but they also stand for their dignity."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24484_Zhuangjia-Crop-003-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of Zhuangjia (Crop), 2008, by Hung Liu. A peasant woman carries corn across a field. A majority of Liu’s pieces in “We Who Work” depict women. “They suffer, but they also stand for their dignity.” \u003ccite>(Photo: Courtesy of Hung Liu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>If that’s the intended effect, it worked for those I talked to visiting the exhibition. Cynthia Begin of Santa Cruz describes Liu’s work as “Profound. I see pain and perseverance, and humanity’s ability to move out of that and create beauty. That’s what she’s [Liu’s] doing.”\u003c/p>\n\u003ch3>An immigrant “like so many immigrants.”\u003c/h3>\n\u003cp>Born in China in 1948, Liu grew up during Chairman Mao’s regime. During the Cultural Revolution, she worked in rice fields for four years. She immigrated to California in 1984 to study at UC San Diego.\u003c/p>\n\u003cp>Now a celebrated artist, her works have been collected by the San Francisco Museum of Modern Art, the Metropolitan Museum of Art and the Whitney Museum of American Art, among others.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/311005606″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/311005606″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>We Who Work\u003c/em> is not Liu’s first foray into political communication through art, but she feels a heightened sense of urgency in this political moment, when the Trump Administration is cracking down on a variety of immigrants.\u003c/p>\n\u003cp>“I’m an immigrant,” says Liu, who’s an American citizen now. “I’m part of the country, like so many immigrants from all over the world. We made [the U.S.] home.”\u003c/p>\n\u003cfigure id=\"attachment_12856908\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856908\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg\" alt=\"Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015).\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24486_DWC2-001-qut.jpg 1269w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Detail of a portrait of a housecleaning couple by Edward Ramirez (UCSC graduate in Fine Art and Sociology 2015). \u003ccite>(Photo: Courtesy of Edward Ramirez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Liu says she feels responsible as an American citizen to use her tools as an artist to influence the political discussion over the value of immigrant labor. “Labor issues overall is human issues, especially in this time.”\u003c/p>\n\u003ch3>Physical labor doesn’t just happen overseas.\u003c/h3>\n\u003cp>The museum has paired Liu’s work with photographs of working people from Santa Cruz County, along with a table full of their tools, and statistics explaining who they are and how they’re treated — and mistreated — by employers.\u003c/p>\n\u003cp>That’s all courtesy of \u003ca href=\"https://workingfordignity.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Working for Dignity\u003c/a>, an advocacy group at UC Santa Cruz. Associate Sociology Professor Steve McKay directs the \u003ca href=\"https://labor.ucsc.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Center for Labor Studies\u003c/a> there.\u003c/p>\n\u003cp>“The numbers tell a certain story, but images of workers move people, humanizing this kind of invisible work,” McKay says. “People see that this is our community.”\u003c/p>\n\u003cfigure id=\"attachment_12856910\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12856910\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg\" alt=\"Window washer Augustin Garcia says "Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter's education."\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/RS24488_IMG_2916-001-qut-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Window washer Augustin Garcia says, “Behind these tools is sweat from my forehead. These tools help me pay the bills and my daughter’s education.” \u003ccite>(Photo Rachael Myrow/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The truth of that statement is not just limited to the artifacts on the walls and tables. Some of those visiting the exhibition can attest to life on the lower rungs of the economic ladder.\u003c/p>\n\u003cp>UC Santa Cruz sociology student Danielle Spahr has worked in restaurants where she’s been denied her legally mandated rest breaks, one of the hardships detailed on the walls in the museum. Staring at the statistic that 50 percent of working people surveyed have been denied their rest breaks, she nods her head. “Unfortunately, that’s how it is right now.”\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Who Work’ runs through Sunday, June 25. More info \u003ca href=\"https://santacruzmah.org/2016/we-at-work-the-art-of-hung-liu-march-3rd-2017-june-6th-2017/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "boomboxes-black-panthers-and-sadie-barnettes-next-generation-visual-code",
"title": "Boomboxes, Black Panthers, and Sadie Barnette's Next-Generation Visual Code",
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"headTitle": "Boomboxes, Black Panthers, and Sadie Barnette’s Next-Generation Visual Code | KQED",
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"content": "\u003cp>Sadie Barnette’s art studio is right on the edge of West Oakland, in the surreal part that feels like two different worlds stitched together — crumbling Victorians adjacent to gleaming condominiums. When I visit her, massive complexes sprout up in the open lots surrounding the neighborhood’s historic 16th Street train station, gloriously covered in the monikers of Oakland’s best graffiti writers and surrounded by barbed wire to keep new ones out. \u003c/p>\n\u003cfigure id=\"attachment_12840782\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Sadie.Inline.jpg\" alt=\"Artwork by Sadie Barnette.\" width=\"750\" height=\"898\" class=\"size-full wp-image-12840782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline-375x449.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline-520x623.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Sadie Barnette. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barnette grew up in North Oakland — “Now, people would call it ‘Temescal’” — but it feels fitting that when she returns from presenting shows in New York City and Los Angeles the mixed-media artist spends much of her time in this oddly evolving neighborhood with so much latent history waiting to be recalled. Her work, which often takes the forms of photography and found objects, plays with a multi-dimensional mix of themes — but perhaps the most prominent among them is memory.\u003c/p>\n\u003cp>Barnette could easily be called the Bay Area’s breakout art star of 2016. After completing a year-long residency at The Studio Museum in Harlem in in 2015, she presented a solo show at L.A.’s Charlie James Gallery in early 2016, followed by another solo at San Francisco’s Jenkins-Johnson Gallery in September.\u003c/p>\n\u003cp>In October, Barnette — whose father, Rodney Barnette, founded the Compton chapter of the Black Panther Party in the ’60s — took over a wall in the Oakland Museum of California’s \u003cem>All Power to the People: The Black Panthers at 50\u003c/em> to present an installation derived from the 500-page file that the FBI kept on her dad’s activity.\u003c/p>\n\u003cp>While her work was still on view at OMCA, Barnette opened yet another solo show at Baxter Street gallery in New York City entitled \u003cem>Do Not Destroy \u003c/em>that featured an expanded iteration of her installation in Oakland. The show received coverage from countless publications, appearing in everything from \u003ca href=\"http://www.vogue.com/article/sadie-barnette-artist-interview-rodney-barnette-black-panther-fbi-file\">\u003cem>Vogue\u003c/em> \u003c/a>to \u003ca href=\"https://www.forbes.com/forbes/welcome/?toURL=https://www.forbes.com/sites/adamlehrer/2017/01/20/when-sadie-barnette-learned-fbi-kept-records-on-her-dads-activism-she-saw-potential-for-art/&refURL=https://www.google.com/&referrer=https://www.google.com/\">\u003cem>Forbes\u003c/em>\u003c/a>. And, on April 13 of this year, Barnette will present \u003cem>Dear 1968,…\u003c/em>, her third iteration of the installation — this time expanded into her first museum solo show — at the new \u003ca href=\"http://manettishremmuseum.ucdavis.edu/\">Manetti Shrem Museum of Art\u003c/a> in Davis.\u003c/p>\n\u003cfigure id=\"attachment_12826640\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12826640 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-800x920.jpg\" alt=\"An early photography of Rodney Barnette. \" width=\"800\" height=\"920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-800x920.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-768x883.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-1020x1173.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-1180x1357.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-960x1104.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-240x276.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-375x431.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-520x598.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2.jpg 1739w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodney Barnette, circa 1968. \u003ccite>(Courtesy Sadie Barnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story undoubtedly deserves the attention. And Barnette’s work is also a timely reminder that the personal is always political.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rodney Barnette always had a strong sense that he was being watched, but it wasn’t until he acquired the file through the Freedom of Information Act\u003cstrong> \u003c/strong>decades later that he knew for sure. The FBI had Barnette listed as an extremist. They interviewed his employer, high school teachers, neighbors, siblings and acquaintances. They documented decades of his life with details such as exact times he boarded flights with Angela Davis and exact quotes he uttered in meetings. It’s all in the notes.\u003c/p>\n\u003cp>Sadie Barnette frames the pinned-up files with touches borne from the lens through which she sees the world. Splotches of pink spray paint act as an unruly highlighter while pink plastic gems adorn other pieces of text. In the Oakland installation, fuchsia iridescent paper covers an entire wall displaying, at its center, a small rendering of her father’s mug shot.\u003c/p>\n\u003cfigure id=\"attachment_12826639\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12826639\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-800x1067.jpg\" alt='A piece in \"Do Not Destroy\" by Sadie Barnette. ' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece in “Do Not Destroy” by Sadie Barnette. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For someone who has only seen Barnette’s FBI file pieces, these touches might register simply as femme — a way of filtering the files through the lens of a young girl. But, in the context of Barnette’s full body of work, those embellishments also reveal dimensions of race, class, chronology and geography.\u003c/p>\n\u003cp>Inside Barnette’s studio, a copy of Jeff Chang’s \u003cem>We Gon’ Be Alright \u003c/em>sits next to a floral cap bearing the word “Compton” and a sculpture of a spray paint can. On the bookshelf, there’s an old boombox, a copy of Chris Johnson and Hank Willis Thomas’ \u003cem>Question Bridge\u003c/em>, and a miniature peacock chair picked up at a thrift store. Among the works on the walls is a signed print by Emory Douglas. Next to that is one of Barnette’s original pieces: A sign that reads “Rodney’s daughter” in the font Cooper Black.\u003c/p>\n\u003cp>The font is constantly recurring in Barnette’s work — just one way in which her aesthetic is adamantly populist. She likes it because it’s the font of iron-on letters and the make-your-own banners you can buy for birthday parties. “It’s pedestrian,” she says, “it’s the opposite of me designing a font.” Barnette is drawn to those commonplace adornments that can make anyone feel special. Early on in her career, for instance, she made weavings out of “fat laces” bought at the dollar store.\u003c/p>\n\u003cfigure id=\"attachment_12826438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12826438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/IMG_9403-800x488.jpg\" alt=\"Inside Sadie Barnette's studio. \" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-1920x1172.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Sadie Barnette’s studio. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wearing a gold name necklace and bright pink lipstick, Barnette flips through her first zine, made in 2012, called \u003cem>Plus One\u003c/em>. Among the pages: A scan-like photograph of a “Black Ice” car freshener; a found advertisement featuring long acrylic nails accented with pink hearts; a photograph of the Martin Luther King Jr. Way street sign in front of a gradient made with black spray paint; and a full page of that recurring holographic glitter paper that Barnette has a clear affinity for. Here, it calls to mind the “candy” coating of a large-rimmed Cadillac.\u003c/p>\n\u003cfigure id=\"attachment_12826439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12826439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/IMG_9395-800x533.jpg\" alt='A spread in \"Plus One\" by Sadie Barnette. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A spread in “Plus One” by Sadie Barnette. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole something-from-nothing, ballin’-on-a-budget aesthetic is super important to me,” she says. “I guess you might see it in the things that have to do with Oakland or my interest in car culture … those aspects of, ‘You might not have a lot, but you’re gonna make it look like a million bucks.’”\u003c/p>\n\u003cp>There’s something telling in the fact that Barnette refers to the 16th Street train station near her studio as “the E-40 station,” alluding to the rapper’s legendary 2009 music video for Bay Area anthem “Tell Me When to Go,” featuring crews of kids in tall tees “going dumb” inside the building’s eroding walls. With her own constant collaging of aesthetic references, Barnette tells an intergenerational story using a visual code grounded in the social rituals of early-aughts Bay Area hip-hop culture.\u003c/p>\n\u003cp>“That aesthetic serves as a platform for our generation to have this conversation,” says Barnette. “Who is the person that is looking back at this family history? It’s the same girl that changes her shoe laces every day and is wearing bamboo earrings and is doing her nails and finding the political nature of representing yourself that way. It’s meaningful. They matter, those small culture-making sartorial decisions.”\u003c/p>\n\u003cp>By employing such a visual code, Barnette’s work also claims space in a fine art world that often shuts its gates to artists working in that rich realm of creative resourcefulness. And, in effect, it excludes the people who are typically privileged in “fine art” spaces by calling upon an art historical canon that’s different than the one they’re used to.\u003c/p>\n\u003cfigure id=\"attachment_12826646\" class=\"wp-caption aligncenter\" style=\"max-width: 751px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12826646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/sadie-6.jpeg\" alt='\"Crew\" by Sadie Barnette. ' width=\"751\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6.jpeg 751w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6-240x185.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6-375x290.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6-520x402.jpeg 520w\" sizes=\"(max-width: 751px) 100vw, 751px\">\u003cfigcaption class=\"wp-caption-text\">“Crew” by Sadie Barnette. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As an artist of color, you’re always aware that some of your references are going to be missed, and I sort of think of that as a fun game,” Barnette says. “There’s certain things that I won’t explain, I’ll just let them sit there, and if some people pick up on them then it’s great — and if not, sometimes it’s good to know that you don’t get everything.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>See more of Sadie Barnette’s work \u003ca href=\"http://www.sadiebarnette.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Sadie Barnette explores political history through a modern-day hip-hop lens, reimagining her father's Black Panther FBI files alongside other cultural markers to reveal dimensions of race, class, chronology and geography.",
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"title": "Boomboxes, Black Panthers, and Sadie Barnette's Next-Generation Visual Code | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sadie Barnette’s art studio is right on the edge of West Oakland, in the surreal part that feels like two different worlds stitched together — crumbling Victorians adjacent to gleaming condominiums. When I visit her, massive complexes sprout up in the open lots surrounding the neighborhood’s historic 16th Street train station, gloriously covered in the monikers of Oakland’s best graffiti writers and surrounded by barbed wire to keep new ones out. \u003c/p>\n\u003cfigure id=\"attachment_12840782\" class=\"wp-caption alignright\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Sadie.Inline.jpg\" alt=\"Artwork by Sadie Barnette.\" width=\"750\" height=\"898\" class=\"size-full wp-image-12840782\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline.jpg 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline-375x449.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Sadie.Inline-520x623.jpg 520w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Artwork by Sadie Barnette. \u003ccite>(Courtesy the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Barnette grew up in North Oakland — “Now, people would call it ‘Temescal’” — but it feels fitting that when she returns from presenting shows in New York City and Los Angeles the mixed-media artist spends much of her time in this oddly evolving neighborhood with so much latent history waiting to be recalled. Her work, which often takes the forms of photography and found objects, plays with a multi-dimensional mix of themes — but perhaps the most prominent among them is memory.\u003c/p>\n\u003cp>Barnette could easily be called the Bay Area’s breakout art star of 2016. After completing a year-long residency at The Studio Museum in Harlem in in 2015, she presented a solo show at L.A.’s Charlie James Gallery in early 2016, followed by another solo at San Francisco’s Jenkins-Johnson Gallery in September.\u003c/p>\n\u003cp>In October, Barnette — whose father, Rodney Barnette, founded the Compton chapter of the Black Panther Party in the ’60s — took over a wall in the Oakland Museum of California’s \u003cem>All Power to the People: The Black Panthers at 50\u003c/em> to present an installation derived from the 500-page file that the FBI kept on her dad’s activity.\u003c/p>\n\u003cp>While her work was still on view at OMCA, Barnette opened yet another solo show at Baxter Street gallery in New York City entitled \u003cem>Do Not Destroy \u003c/em>that featured an expanded iteration of her installation in Oakland. The show received coverage from countless publications, appearing in everything from \u003ca href=\"http://www.vogue.com/article/sadie-barnette-artist-interview-rodney-barnette-black-panther-fbi-file\">\u003cem>Vogue\u003c/em> \u003c/a>to \u003ca href=\"https://www.forbes.com/forbes/welcome/?toURL=https://www.forbes.com/sites/adamlehrer/2017/01/20/when-sadie-barnette-learned-fbi-kept-records-on-her-dads-activism-she-saw-potential-for-art/&refURL=https://www.google.com/&referrer=https://www.google.com/\">\u003cem>Forbes\u003c/em>\u003c/a>. And, on April 13 of this year, Barnette will present \u003cem>Dear 1968,…\u003c/em>, her third iteration of the installation — this time expanded into her first museum solo show — at the new \u003ca href=\"http://manettishremmuseum.ucdavis.edu/\">Manetti Shrem Museum of Art\u003c/a> in Davis.\u003c/p>\n\u003cfigure id=\"attachment_12826640\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12826640 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-800x920.jpg\" alt=\"An early photography of Rodney Barnette. \" width=\"800\" height=\"920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-800x920.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-768x883.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-1020x1173.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-1180x1357.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-960x1104.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-240x276.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-375x431.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2-520x598.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-2.jpg 1739w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rodney Barnette, circa 1968. \u003ccite>(Courtesy Sadie Barnette)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story undoubtedly deserves the attention. And Barnette’s work is also a timely reminder that the personal is always political.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rodney Barnette always had a strong sense that he was being watched, but it wasn’t until he acquired the file through the Freedom of Information Act\u003cstrong> \u003c/strong>decades later that he knew for sure. The FBI had Barnette listed as an extremist. They interviewed his employer, high school teachers, neighbors, siblings and acquaintances. They documented decades of his life with details such as exact times he boarded flights with Angela Davis and exact quotes he uttered in meetings. It’s all in the notes.\u003c/p>\n\u003cp>Sadie Barnette frames the pinned-up files with touches borne from the lens through which she sees the world. Splotches of pink spray paint act as an unruly highlighter while pink plastic gems adorn other pieces of text. In the Oakland installation, fuchsia iridescent paper covers an entire wall displaying, at its center, a small rendering of her father’s mug shot.\u003c/p>\n\u003cfigure id=\"attachment_12826639\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12826639\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-800x1067.jpg\" alt='A piece in \"Do Not Destroy\" by Sadie Barnette. ' width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/do-not-destroy-1.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A piece in “Do Not Destroy” by Sadie Barnette. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For someone who has only seen Barnette’s FBI file pieces, these touches might register simply as femme — a way of filtering the files through the lens of a young girl. But, in the context of Barnette’s full body of work, those embellishments also reveal dimensions of race, class, chronology and geography.\u003c/p>\n\u003cp>Inside Barnette’s studio, a copy of Jeff Chang’s \u003cem>We Gon’ Be Alright \u003c/em>sits next to a floral cap bearing the word “Compton” and a sculpture of a spray paint can. On the bookshelf, there’s an old boombox, a copy of Chris Johnson and Hank Willis Thomas’ \u003cem>Question Bridge\u003c/em>, and a miniature peacock chair picked up at a thrift store. Among the works on the walls is a signed print by Emory Douglas. Next to that is one of Barnette’s original pieces: A sign that reads “Rodney’s daughter” in the font Cooper Black.\u003c/p>\n\u003cp>The font is constantly recurring in Barnette’s work — just one way in which her aesthetic is adamantly populist. She likes it because it’s the font of iron-on letters and the make-your-own banners you can buy for birthday parties. “It’s pedestrian,” she says, “it’s the opposite of me designing a font.” Barnette is drawn to those commonplace adornments that can make anyone feel special. Early on in her career, for instance, she made weavings out of “fat laces” bought at the dollar store.\u003c/p>\n\u003cfigure id=\"attachment_12826438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12826438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/IMG_9403-800x488.jpg\" alt=\"Inside Sadie Barnette's studio. \" width=\"800\" height=\"488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-800x488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-768x469.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-1020x622.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-1920x1172.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-1180x720.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-960x586.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-240x146.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-375x229.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403-520x317.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9403.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside Sadie Barnette’s studio. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Wearing a gold name necklace and bright pink lipstick, Barnette flips through her first zine, made in 2012, called \u003cem>Plus One\u003c/em>. Among the pages: A scan-like photograph of a “Black Ice” car freshener; a found advertisement featuring long acrylic nails accented with pink hearts; a photograph of the Martin Luther King Jr. Way street sign in front of a gradient made with black spray paint; and a full page of that recurring holographic glitter paper that Barnette has a clear affinity for. Here, it calls to mind the “candy” coating of a large-rimmed Cadillac.\u003c/p>\n\u003cfigure id=\"attachment_12826439\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12826439\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/IMG_9395-800x533.jpg\" alt='A spread in \"Plus One\" by Sadie Barnette. ' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/IMG_9395.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A spread in “Plus One” by Sadie Barnette. \u003ccite>(Sarah Burke)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The whole something-from-nothing, ballin’-on-a-budget aesthetic is super important to me,” she says. “I guess you might see it in the things that have to do with Oakland or my interest in car culture … those aspects of, ‘You might not have a lot, but you’re gonna make it look like a million bucks.’”\u003c/p>\n\u003cp>There’s something telling in the fact that Barnette refers to the 16th Street train station near her studio as “the E-40 station,” alluding to the rapper’s legendary 2009 music video for Bay Area anthem “Tell Me When to Go,” featuring crews of kids in tall tees “going dumb” inside the building’s eroding walls. With her own constant collaging of aesthetic references, Barnette tells an intergenerational story using a visual code grounded in the social rituals of early-aughts Bay Area hip-hop culture.\u003c/p>\n\u003cp>“That aesthetic serves as a platform for our generation to have this conversation,” says Barnette. “Who is the person that is looking back at this family history? It’s the same girl that changes her shoe laces every day and is wearing bamboo earrings and is doing her nails and finding the political nature of representing yourself that way. It’s meaningful. They matter, those small culture-making sartorial decisions.”\u003c/p>\n\u003cp>By employing such a visual code, Barnette’s work also claims space in a fine art world that often shuts its gates to artists working in that rich realm of creative resourcefulness. And, in effect, it excludes the people who are typically privileged in “fine art” spaces by calling upon an art historical canon that’s different than the one they’re used to.\u003c/p>\n\u003cfigure id=\"attachment_12826646\" class=\"wp-caption aligncenter\" style=\"max-width: 751px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12826646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/sadie-6.jpeg\" alt='\"Crew\" by Sadie Barnette. ' width=\"751\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6.jpeg 751w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6-160x124.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6-240x185.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6-375x290.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/sadie-6-520x402.jpeg 520w\" sizes=\"(max-width: 751px) 100vw, 751px\">\u003cfigcaption class=\"wp-caption-text\">“Crew” by Sadie Barnette. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“As an artist of color, you’re always aware that some of your references are going to be missed, and I sort of think of that as a fun game,” Barnette says. “There’s certain things that I won’t explain, I’ll just let them sit there, and if some people pick up on them then it’s great — and if not, sometimes it’s good to know that you don’t get everything.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>See more of Sadie Barnette’s work \u003ca href=\"http://www.sadiebarnette.com/\" target=\"_blank\" rel=\"noopener\">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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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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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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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