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"title": "With Brutal Honesty, Oakland's ALLBLACK Reaches Toward Peace",
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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\">I\u003c/span>t was a wet afternoon, one where you could hear the rain pounding the tin roof that covers the seating area for the Sinaloa Taco trucks. ALLBLACK, the rising rap artist, breathed in a sigh of relief.\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 just like the smell of the rain and all that. I dress for the winter anyway,” he said as he sat across from me, with his tattooed face, bullring nose piercing and no jacket — only a fresh white corner store issued T-shirt. “The rain is peace.”\u003c/p>\n\u003cp>At that moment, I realized ALLBLACK, given name D’Andre Sams, was a different kind of dude.\u003c/p>\n\u003cp>I mean, I already knew he was popular. I could tell from constantly hearing his music coming out of cars passing by in the streets, from the \u003ca href=\"https://www.youtube.com/results?search_query=%22allblack%22&sp=CAM%253D\" target=\"_blank\" rel=\"noopener noreferrer\">amount of plays\u003c/a> his songs have online, and the fact that some guy named Marshawn Lynch gave him a \u003ca href=\"https://twitter.com/moneylynch/status/982477779575848960?s=11\" target=\"_blank\" rel=\"noopener noreferrer\">shoutout on Twitter\u003c/a>. Oh, and there’s also the viral video of ALLBLACK verbally smashing on someone \u003ca href=\"https://www.youtube.com/watch?v=V2nzYYbrhiU\" target=\"_blank\" rel=\"noopener noreferrer\">driving around Oakland with a noose hanging in the backseat\u003c/a> of their car.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But what really spoke to me was \u003ca href=\"https://www.instagram.com/p/BhBEVylBBwU/\" target=\"_blank\" rel=\"noopener noreferrer\">this video\u003c/a> on ALLBLACK’s Instagram, in which a crowd chock-full of hyped teenage girls recite ALLBLACK’s lyrics verbatim, at the top of their lungs.\u003c/p>\n\u003cp>“The girls going crazy in the front row, that was my little sisters, all of ‘em. I don’t even know them, but that’s my little sisters,” said ALLBLACK. “It was beautiful to see that I could move children like that. And my music spoke to them in their own way. I ain’t never felt like that, ever!”\u003c/p>\n\u003cp>I doubled back and asked why he thought his music reached them. “I wish I had a saucy-ass answer,” he said, “but I really don’t know.”\u003c/p>\n\u003cp>But in talking to him at Sinaloa, I think I got an idea of why his music is so appealing.\u003c/p>\n\u003cfigure id=\"attachment_13830219\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg\" alt=\"ALLBLACK reunites with a childhood brother.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK with a friend in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK isn’t bashful about living and speaking his truth. And given his subject matter, it’s useful to have prime insight into the “diary,” as he calls it, of a young man who loves his mother and daughter, and also has clearly been around pimp culture. It might seem contradictory to some to have one project named \u003cem>KimsSon\u003c/em>, honoring his mother, and his latest project called \u003cem>Outcalls\u003c/em>, a nod to the oldest profession. But the way he raps candidly about it all is what makes people feel his songs.\u003c/p>\n\u003cp>His music is uptempo, almost aggressive. Not hyphy music by far, and actually more mobb music, a genre which preceded hyphy era here in The Bay. When I asked who his musical influences are, his answers further proved my theory that he is indeed a different kind of dude: “I’ll say Teddy Pendergrass, The Stylistics…”\u003c/p>\n\u003cp>I immediately cut him off. For real?! Why them? I asked. “Their music is peace,” he replied, and then kept going. “I really like the old Prince.” He said he could go on for days, naming artists like Kut Klose, whom I had never heard of. He got to the rappers: “Migos, Gucci, Wiz. I’m a big Wiz fan, like ’09 Wiz. Mixtape Wiz.” And then he mentioned some local artists, including \u003ca href=\"https://www.youtube.com/watch?v=47VQh1VLeeE\" target=\"_blank\" rel=\"noopener noreferrer\">3xKrazy\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Kossisko\" target=\"_blank\" rel=\"noopener noreferrer\">Kossisko\u003c/a>, used to go by 100s.\u003c/p>\n\u003caside class=\"pullquote alignright\">I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.\u003c/aside>\n\u003cp>Long before ALLBLACK was rapping, he was 100s hype man, and it was 100s who pushed him to rap about his life; put his diary on tracks.\u003c/p>\n\u003cp>It made sense. ALLBLACK was already cool with the leaders of the Bay’s newest wave of talent. He went to Pinole Valley for high school — “that’s where I met P-Lo, Iamsu!, Young Bari,” said ALLBLACK. “That’s the first time I heard of Rexx Life Raj.”\u003c/p>\n\u003cp>Even more importantly, he was already relatively well known. “I’ve been popular before music,” ALLBLACK said, just moments before a random guy walked up and interrupted our interview to take a photo with him.\u003c/p>\n\u003cp>He said he was known for dancing and skateboarding, with the nickname given to him by his family, Dusty — still how many people know him. And being “outside” is a major part of his program. “I been outside. I been in other people’s hoods showing love,” said ALLBLACK. “I don’t have problems with other people, I have problems with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13830218\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I chose not to pry further about the internal conflicts he faces. But I got a sense of it from the next question. Having a daughter, does it make you hold back, I asked, on some of the lyrics that might be seen as misogynistic?\u003c/p>\n\u003cp>“No, not at all. I mean what I say, like I said: this music is a diary. It’s not for a filter, for these people,” ALLBLACK said with the confidence of a seasoned orator. “When I write music, I don’t go and watch what I say. When you’re expressing yourself, do you filter what you’re going to say?”\u003c/p>\n\u003cp>(I do. In fact, I think many of us do. I let him keep talking.)\u003c/p>\n\u003cp>“Like I said, it’s my diary. I don’t regret anything I say. If I said it on wax, I know what I said. I’m not going to go back, like, oh we got to delete this,” ALLBLACK said.\u003c/p>\n\u003cp>Even with the context of Oakland and the issues of sex trafficking and all of that? I asked.\u003c/p>\n\u003cp>“Nope, I don’t take it back, because that’s my life,” said ALLBLACK. “I’m giving my views, I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.”\u003c/p>\n\u003cp>Damn. I can’t argue with that.\u003c/p>\n\u003cfigure id=\"attachment_13830217\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK speaks to the experience of many young people; an experience that doesn’t fit into a staunch dichotomy of good versus evil, one side or the other. It’s a worldview that was developed right here. You could take a fish taco from Sinaloa and toss it to the doorstep of the house where ALLBLACK was raised in East Oakland’s Rollin’ Twenties, a.k.a. “The Dubbs.”\u003c/p>\n\u003cp>He has childhood memories of his family housing an older Latino brother, who just happened to be at the taco truck during our conversation — the embrace during the reunion was heartwarming. He also has childhood memories of riding bikes on “The Blade,” or what is often called “The Hoe Stroll,” International Blvd., formerly E. 14th, and seeing the women working, getting a front-row seat to the lifestyle in his songs.\u003c/p>\n\u003cp>In the medical world, one of the hottest terms being tossed around is “\u003ca href=\"http://www.traumainformedcareproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">trauma-informed care\u003c/a>.” It’s about valuing the experience of the individual in order to find a solution to the issue. He’s providing that experience.\u003c/p>\n\u003cp>And in the real world, where we often filter ourselves, it’s appealing to have someone go on record and say what we’ve been thinking, feeling and living. He’s providing that experience.\u003c/p>\n\u003cp>Before I let ALLBLACK enjoy his burrito, I asked, years from now, what his legacy will be. His reply, “Peace.” Why peace? I responded.\u003c/p>\n\u003cp>“It’s comfort. Less worries. I can’t say, no worries. But if I’m all said and done, no regrets will be my legacy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>t was a wet afternoon, one where you could hear the rain pounding the tin roof that covers the seating area for the Sinaloa Taco trucks. ALLBLACK, the rising rap artist, breathed in a sigh of relief.\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 just like the smell of the rain and all that. I dress for the winter anyway,” he said as he sat across from me, with his tattooed face, bullring nose piercing and no jacket — only a fresh white corner store issued T-shirt. “The rain is peace.”\u003c/p>\n\u003cp>At that moment, I realized ALLBLACK, given name D’Andre Sams, was a different kind of dude.\u003c/p>\n\u003cp>I mean, I already knew he was popular. I could tell from constantly hearing his music coming out of cars passing by in the streets, from the \u003ca href=\"https://www.youtube.com/results?search_query=%22allblack%22&sp=CAM%253D\" target=\"_blank\" rel=\"noopener noreferrer\">amount of plays\u003c/a> his songs have online, and the fact that some guy named Marshawn Lynch gave him a \u003ca href=\"https://twitter.com/moneylynch/status/982477779575848960?s=11\" target=\"_blank\" rel=\"noopener noreferrer\">shoutout on Twitter\u003c/a>. Oh, and there’s also the viral video of ALLBLACK verbally smashing on someone \u003ca href=\"https://www.youtube.com/watch?v=V2nzYYbrhiU\" target=\"_blank\" rel=\"noopener noreferrer\">driving around Oakland with a noose hanging in the backseat\u003c/a> of their car.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But what really spoke to me was \u003ca href=\"https://www.instagram.com/p/BhBEVylBBwU/\" target=\"_blank\" rel=\"noopener noreferrer\">this video\u003c/a> on ALLBLACK’s Instagram, in which a crowd chock-full of hyped teenage girls recite ALLBLACK’s lyrics verbatim, at the top of their lungs.\u003c/p>\n\u003cp>“The girls going crazy in the front row, that was my little sisters, all of ‘em. I don’t even know them, but that’s my little sisters,” said ALLBLACK. “It was beautiful to see that I could move children like that. And my music spoke to them in their own way. I ain’t never felt like that, ever!”\u003c/p>\n\u003cp>I doubled back and asked why he thought his music reached them. “I wish I had a saucy-ass answer,” he said, “but I really don’t know.”\u003c/p>\n\u003cp>But in talking to him at Sinaloa, I think I got an idea of why his music is so appealing.\u003c/p>\n\u003cfigure id=\"attachment_13830219\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830219\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg\" alt=\"ALLBLACK reunites with a childhood brother.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack2.brother-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK with a friend in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK isn’t bashful about living and speaking his truth. And given his subject matter, it’s useful to have prime insight into the “diary,” as he calls it, of a young man who loves his mother and daughter, and also has clearly been around pimp culture. It might seem contradictory to some to have one project named \u003cem>KimsSon\u003c/em>, honoring his mother, and his latest project called \u003cem>Outcalls\u003c/em>, a nod to the oldest profession. But the way he raps candidly about it all is what makes people feel his songs.\u003c/p>\n\u003cp>His music is uptempo, almost aggressive. Not hyphy music by far, and actually more mobb music, a genre which preceded hyphy era here in The Bay. When I asked who his musical influences are, his answers further proved my theory that he is indeed a different kind of dude: “I’ll say Teddy Pendergrass, The Stylistics…”\u003c/p>\n\u003cp>I immediately cut him off. For real?! Why them? I asked. “Their music is peace,” he replied, and then kept going. “I really like the old Prince.” He said he could go on for days, naming artists like Kut Klose, whom I had never heard of. He got to the rappers: “Migos, Gucci, Wiz. I’m a big Wiz fan, like ’09 Wiz. Mixtape Wiz.” And then he mentioned some local artists, including \u003ca href=\"https://www.youtube.com/watch?v=47VQh1VLeeE\" target=\"_blank\" rel=\"noopener noreferrer\">3xKrazy\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Kossisko\" target=\"_blank\" rel=\"noopener noreferrer\">Kossisko\u003c/a>, used to go by 100s.\u003c/p>\n\u003caside class=\"pullquote alignright\">I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.\u003c/aside>\n\u003cp>Long before ALLBLACK was rapping, he was 100s hype man, and it was 100s who pushed him to rap about his life; put his diary on tracks.\u003c/p>\n\u003cp>It made sense. ALLBLACK was already cool with the leaders of the Bay’s newest wave of talent. He went to Pinole Valley for high school — “that’s where I met P-Lo, Iamsu!, Young Bari,” said ALLBLACK. “That’s the first time I heard of Rexx Life Raj.”\u003c/p>\n\u003cp>Even more importantly, he was already relatively well known. “I’ve been popular before music,” ALLBLACK said, just moments before a random guy walked up and interrupted our interview to take a photo with him.\u003c/p>\n\u003cp>He said he was known for dancing and skateboarding, with the nickname given to him by his family, Dusty — still how many people know him. And being “outside” is a major part of his program. “I been outside. I been in other people’s hoods showing love,” said ALLBLACK. “I don’t have problems with other people, I have problems with myself.”\u003c/p>\n\u003cfigure id=\"attachment_13830218\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830218\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Allblack.3-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I chose not to pry further about the internal conflicts he faces. But I got a sense of it from the next question. Having a daughter, does it make you hold back, I asked, on some of the lyrics that might be seen as misogynistic?\u003c/p>\n\u003cp>“No, not at all. I mean what I say, like I said: this music is a diary. It’s not for a filter, for these people,” ALLBLACK said with the confidence of a seasoned orator. “When I write music, I don’t go and watch what I say. When you’re expressing yourself, do you filter what you’re going to say?”\u003c/p>\n\u003cp>(I do. In fact, I think many of us do. I let him keep talking.)\u003c/p>\n\u003cp>“Like I said, it’s my diary. I don’t regret anything I say. If I said it on wax, I know what I said. I’m not going to go back, like, oh we got to delete this,” ALLBLACK said.\u003c/p>\n\u003cp>Even with the context of Oakland and the issues of sex trafficking and all of that? I asked.\u003c/p>\n\u003cp>“Nope, I don’t take it back, because that’s my life,” said ALLBLACK. “I’m giving my views, I’m painting a picture. I’m helping you understand where I’m coming from. Why my emotions are my emotions.”\u003c/p>\n\u003cp>Damn. I can’t argue with that.\u003c/p>\n\u003cfigure id=\"attachment_13830217\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13830217\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg\" alt=\"ALLBLACK in East Oakland.\" width=\"1100\" height=\"735\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/AllBlack.1-520x347.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">ALLBLACK in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>LLBLACK speaks to the experience of many young people; an experience that doesn’t fit into a staunch dichotomy of good versus evil, one side or the other. It’s a worldview that was developed right here. You could take a fish taco from Sinaloa and toss it to the doorstep of the house where ALLBLACK was raised in East Oakland’s Rollin’ Twenties, a.k.a. “The Dubbs.”\u003c/p>\n\u003cp>He has childhood memories of his family housing an older Latino brother, who just happened to be at the taco truck during our conversation — the embrace during the reunion was heartwarming. He also has childhood memories of riding bikes on “The Blade,” or what is often called “The Hoe Stroll,” International Blvd., formerly E. 14th, and seeing the women working, getting a front-row seat to the lifestyle in his songs.\u003c/p>\n\u003cp>In the medical world, one of the hottest terms being tossed around is “\u003ca href=\"http://www.traumainformedcareproject.org/\" target=\"_blank\" rel=\"noopener noreferrer\">trauma-informed care\u003c/a>.” It’s about valuing the experience of the individual in order to find a solution to the issue. He’s providing that experience.\u003c/p>\n\u003cp>And in the real world, where we often filter ourselves, it’s appealing to have someone go on record and say what we’ve been thinking, feeling and living. He’s providing that experience.\u003c/p>\n\u003cp>Before I let ALLBLACK enjoy his burrito, I asked, years from now, what his legacy will be. His reply, “Peace.” Why peace? I responded.\u003c/p>\n\u003cp>“It’s comfort. Less worries. I can’t say, no worries. But if I’m all said and done, no regrets will be my legacy.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice'",
"headTitle": "DJ Platurn Reveals Iceland’s Groovy Side with ‘Breaking the Ice’ | KQED",
"content": "\u003cp>On a recent evening in a warm, wood-paneled auditorium at the Oakland Museum of California, \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener\">DJ Platurn\u003c/a> maintains a surprisingly low-key demeanor as he prepares to unveil his new LP, \u003cem>Breaking the Ice.\u003c/em> The collection of rare, Icelandic music took Platurn 12 years to collect and mix; it’s his most ambitious and personal project to date.\u003c/p>\n\u003cp>“There’s gonna be familiar stuff, but just enjoy the fact that you’ve never heard any of this music,” he says, pressing play on the 87-minute-long sonic tapestry he stitched together from roughly 70 songs spanning the mid-’60s through the mid’-80s. In a world that grants near-instant access to the previously unfamiliar, his invitation to simply get lost in the music feels romantically nostalgic.\u003c/p>\n\u003cp>As Platurn notes at the release party, familiar reference points pop up periodically throughout \u003cem>Breaking the Ice,\u003c/em> released last month via San Jose’s \u003ca href=\"https://needletothegroove.net/\" target=\"_blank\" rel=\"noopener\">Needle to the Groove Records\u003c/a>. There’s an Aretha Franklin cover, a “Jingle Bells” rendition that sounds like it was retouched by ’70s-era Herbie Hancock, and a short segment of a cover of the Mamas & the Papas’ “California Dreaming.” During the post-mix Q&A, Platurn reveals that the Icelandic lyrics of the latter re-frame the tune as “Farm Boy’s Dream,” a tale of city kids’ summertime excursions to the countryside, a rite of passage in Iceland.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/378598712″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This reimagining explains \u003cem>Breaking the Ice\u003c/em> quite well — curiously familiar, yet oddly distant. The project can be compared to the immersive yet dissociative pastiche of \u003cem>Since I Left You\u003c/em> by the Avalanches, or perhaps Madlib’s \u003cem>Shades of Blue\u003c/em>, the famed producer’s curated, embellished glance through the Blue Note Records archives. Platurn’s eclectic mix visits psych, soul, hard rock, folk, folk rock, and elements of R&B. Soft melodies crash into heavy drum freakouts. Children’s songs sit in the mix with proto-rap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With these eclectic pairings, \u003cem>Breaking the Ice\u003c/em> pieces together a groovier side of Iceland, one that often recalls American funk and soul music. It’s a fascinating exploration of the musical history of a formerly-isolated island country best known for rock — or in recent years, the eccentric artistry of Björk and Sigur Rós.\u003c/p>\n\u003cp>The project is also deeply personal for Platurn. “I wanted to do something that meant something for our little family that traveled here 35 years ago and brought all our records with us,” he says.\u003c/p>\n\u003ch3>Unique Upbringing, Boundary-Pushing Musical Taste\u003c/h3>\n\u003cp>A few fans at the listening party comment that Platurn may well be the only person on the planet who could’ve conceived \u003cem>Breaking the Ice.\u003c/em> Indeed, his family’s extensive record collection provided him with the perfect archives to source these rare Icelandic tunes. In the ’70s, a time in Iceland the liner notes describe as “painfully unadventurous,” his father, Magnus Thordarson, was a highly influential promoter and radio DJ that broke new sounds on the airwaves. (The stage name “Platurn” comes from \u003cem>p\u003c/em>\u003cem>lötusnúður\u003c/em>, the Icelandic word for DJ or “plate turner.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=noKkrWo-2WE\u003c/p>\n\u003cp>Platurn grew up an avid hip-hop fan in the East Bay in the ’90s, and digging for drum breaks to sample inevitably prepared him for the decade-plus saga of “groove excavation” he refers to in the project’s mini-doc. As the mix reveals, his 20-plus years in the game have helped him develop a keen ear for a good groove.\u003c/p>\n\u003cp>Platurn spent his first seven years in the small fishing village of Stykkisólmur. That explains his culture shock when he first landed at JFK International Airport with his family in 1983.\u003c/p>\n\u003cp>“The juxtaposition from where we came from to coming here was massive,” he recalls. “I’d barely seen any movies, didn’t watch TV, anything like that. Everything was just massively new to me. All this culture is just swimming at you.”\u003c/p>\n\u003cp>Though Platurn didn’t have TV in Iceland, music was always important and apparent. There’s perhaps no better way to illustrate that than with his father’s decision to haul his 1000-plus record collection across the Atlantic to their new home in California.\u003c/p>\n\u003cp>“When I was old enough to stand on my feet, I was dancing around to Stevie Wonder’s \u003cem>Songs in the Key of Life \u003c/em>in my living room,” he adds. A recent photo on Instagram shows Platurn, bowl cut and all, sitting on a speaker with headphones on, blues legend Leadbelly spinning on the turntable.\u003c/p>\n\u003cp>https://www.instagram.com/p/BhO0BiVhxgM/\u003c/p>\n\u003cp>Growing up immersed in hip-hop culture, inspired by the likes of Ice Cube, NWA, and the Native Tongues crew, Platurn’s interests eventually led him to DJing. At 18, he purchased his own mixer and turntables through an ad in \u003cem>The Source \u003c/em>magazine with money he saved from his summer job at the YMCA. As he began collecting vinyl more regularly, digging for samples naturally led him to the dirty drums in funk and soul music.\u003c/p>\n\u003cp>Platurn first gained notoriety as a founding member of East Bay DJ crew the Oakland Faders, which also includes Joe Quixx, the former host of \u003cem>The Wake Up Show\u003c/em> on hip-hop station 106.1 KMEL. In 2010, during the rise of digital DJing, Platurn started the 45 Sessions, a recurring night at various Oakland clubs that had only one rule: no matter what the DJs played, it had to be on a seven-inch, 45 RPM record.\u003c/p>\n\u003cp>Now, at 42 years old, Platurn has been behind the decks for 24 years. That means he’s been chipping away at \u003cem>Breaking the Ice\u003c/em> for half of his professional career, a labor of love that started as an extended musical conversation with his older cousin Sveimhugi, a former DJ who resides in Reykjavik. Their shared hobby turned into an obsession, and a funkier side of Iceland’s music scene began to reveal itself.\u003c/p>\n\u003ch3>A Record Collection Tells a Personal Story\u003c/h3>\n\u003cp>Platurn first teased the music in \u003cem>Breaking the Ice\u003c/em> at a record swap in San Jose called Dig Dug, and the records instantly caught the attention of music writer David Ma, now an affiliate of Needle to the Groove Records and the author of the \u003cem>Breaking the Ice\u003c/em> liner notes.\u003c/p>\n\u003cp>“It just kind of blew us away,” Ma recalls of the crowd reaction that night. The two emailed about the possibility of releasing the music, and they even previewed the \u003cem>Breaking the Ice\u003c/em> concept in a three-part series on Ma’s music blog \u003ca href=\"https://nerdtorious.com/2009/12/21/breaking-the-ice/\">Nerdtorious\u003c/a> starting in 2009. Back then, Platurn conceived of the project as a compilation; after encountering multiple roadblocks, they settled on releasing it as a mix to better to showcase Platurn’s DJing abilities and familiarity with his source material.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/378600302″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>When conceptualizing the liner notes, both Ma and Platurn wanted to tie the story back to Platurn’s father. They sat with him one evening to hear him share at length about his time as an influential promoter and DJ. “His dad’s hilarious — very forthcoming and very analytical, so it was easy to extract the importance of Iceland’s musical heyday back then,” says Ma. “I think what we did was just try to understand the shortcomings of Icelandic [music] at the time.”\u003c/p>\n\u003cp>Although \u003cem>Breaking the Ice\u003c/em> has informative, contextualizing liner notes, it does not have a tracklist, and that’s strictly by design. In similar cases, when compilations or mixes of ultra-rare music have gained traction, second-hand record prices have skyrocketed as a result, a phenomenon Platurn says he’d rather not contribute to.\u003c/p>\n\u003cp>Platurn’s protectiveness also stems from the fact that tracklists are often seen as trade secrets in the DJ world. He doesn’t leave the house with any of the records featured on the mix, and for good reason: at one point, he thought he lost several of them forever.\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn keeps the crowd engaged at the 45 Sessions Winter Sessions 2017, Nov. 17, 2017 \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years ago, after a gig at 1015 Folsom, around 20 of the records featured on \u003cem>Breaking the Ice\u003c/em> were stolen during a car break-in. Platurn put out a call on social media and even cruised the venue’s neighborhood for weeks after the incident, offering cash to whomever might have a lead. Ten months later, a tip from a friend of a friend led him to a hard rock record shop in the Mission. Thanks to his father’s meticulous cataloging system, Platurn was able to verify that they were indeed his stolen records. Though he was prepared to pay anything, the owner only wanted what he’d paid for the stack: 100 bucks. Platurn gave him 300, thanked him profusely, and parted ways feeling much better about the state of kindness in the world.\u003c/p>\n\u003cp>“The uniqueness of all this is really high, because soul music is not supposed to come from a small island in the North Atlantic,” says Platurn. “None of it is actually 100 percent funk music or hip-hop or anything. It’s just vaguely reminiscent of it, and that’s what makes it so interesting and charming.”\u003c/p>\n\u003cp>Though he made the mix with the idea to showcase a funkier side of Icelandic music, Platurn warns that the collection of songs shouldn’t be considered any sort of definitive cultural statement. “This was my personality at play much more so than me trying to be some thorough archivist for a specific scene back then,” he notes.\u003c/p>\n\u003cp>Asked why he still chooses to collect analog records in an ever-more-digital world, he points to the nostalgia and narrative inevitably tied to one’s record collection. “Every record has a story, and that’s rad,” he says. “Not just a story of the actual release itself, but \u003cem>you\u003c/em> have a story — I have a ton of records I acquired traveling the planet, and that’s dope to me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>DJ Platurn performs as part of the Souls of Mischief Birthday Bash Friday, April 27, at the Uptown in Oakland. More info \u003ca href=\"http://www.uptownnightclub.com/event/souls-mischief-birthday-bash/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent evening in a warm, wood-paneled auditorium at the Oakland Museum of California, \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener\">DJ Platurn\u003c/a> maintains a surprisingly low-key demeanor as he prepares to unveil his new LP, \u003cem>Breaking the Ice.\u003c/em> The collection of rare, Icelandic music took Platurn 12 years to collect and mix; it’s his most ambitious and personal project to date.\u003c/p>\n\u003cp>“There’s gonna be familiar stuff, but just enjoy the fact that you’ve never heard any of this music,” he says, pressing play on the 87-minute-long sonic tapestry he stitched together from roughly 70 songs spanning the mid-’60s through the mid’-80s. In a world that grants near-instant access to the previously unfamiliar, his invitation to simply get lost in the music feels romantically nostalgic.\u003c/p>\n\u003cp>As Platurn notes at the release party, familiar reference points pop up periodically throughout \u003cem>Breaking the Ice,\u003c/em> released last month via San Jose’s \u003ca href=\"https://needletothegroove.net/\" target=\"_blank\" rel=\"noopener\">Needle to the Groove Records\u003c/a>. There’s an Aretha Franklin cover, a “Jingle Bells” rendition that sounds like it was retouched by ’70s-era Herbie Hancock, and a short segment of a cover of the Mamas & the Papas’ “California Dreaming.” During the post-mix Q&A, Platurn reveals that the Icelandic lyrics of the latter re-frame the tune as “Farm Boy’s Dream,” a tale of city kids’ summertime excursions to the countryside, a rite of passage in Iceland.\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/378598712″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/378598712″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This reimagining explains \u003cem>Breaking the Ice\u003c/em> quite well — curiously familiar, yet oddly distant. The project can be compared to the immersive yet dissociative pastiche of \u003cem>Since I Left You\u003c/em> by the Avalanches, or perhaps Madlib’s \u003cem>Shades of Blue\u003c/em>, the famed producer’s curated, embellished glance through the Blue Note Records archives. Platurn’s eclectic mix visits psych, soul, hard rock, folk, folk rock, and elements of R&B. Soft melodies crash into heavy drum freakouts. Children’s songs sit in the mix with proto-rap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With these eclectic pairings, \u003cem>Breaking the Ice\u003c/em> pieces together a groovier side of Iceland, one that often recalls American funk and soul music. It’s a fascinating exploration of the musical history of a formerly-isolated island country best known for rock — or in recent years, the eccentric artistry of Björk and Sigur Rós.\u003c/p>\n\u003cp>The project is also deeply personal for Platurn. “I wanted to do something that meant something for our little family that traveled here 35 years ago and brought all our records with us,” he says.\u003c/p>\n\u003ch3>Unique Upbringing, Boundary-Pushing Musical Taste\u003c/h3>\n\u003cp>A few fans at the listening party comment that Platurn may well be the only person on the planet who could’ve conceived \u003cem>Breaking the Ice.\u003c/em> Indeed, his family’s extensive record collection provided him with the perfect archives to source these rare Icelandic tunes. In the ’70s, a time in Iceland the liner notes describe as “painfully unadventurous,” his father, Magnus Thordarson, was a highly influential promoter and radio DJ that broke new sounds on the airwaves. (The stage name “Platurn” comes from \u003cem>p\u003c/em>\u003cem>lötusnúður\u003c/em>, the Icelandic word for DJ or “plate turner.”)\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/noKkrWo-2WE'\n title='//www.youtube.com/embed/noKkrWo-2WE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Platurn grew up an avid hip-hop fan in the East Bay in the ’90s, and digging for drum breaks to sample inevitably prepared him for the decade-plus saga of “groove excavation” he refers to in the project’s mini-doc. As the mix reveals, his 20-plus years in the game have helped him develop a keen ear for a good groove.\u003c/p>\n\u003cp>Platurn spent his first seven years in the small fishing village of Stykkisólmur. That explains his culture shock when he first landed at JFK International Airport with his family in 1983.\u003c/p>\n\u003cp>“The juxtaposition from where we came from to coming here was massive,” he recalls. “I’d barely seen any movies, didn’t watch TV, anything like that. Everything was just massively new to me. All this culture is just swimming at you.”\u003c/p>\n\u003cp>Though Platurn didn’t have TV in Iceland, music was always important and apparent. There’s perhaps no better way to illustrate that than with his father’s decision to haul his 1000-plus record collection across the Atlantic to their new home in California.\u003c/p>\n\u003cp>“When I was old enough to stand on my feet, I was dancing around to Stevie Wonder’s \u003cem>Songs in the Key of Life \u003c/em>in my living room,” he adds. A recent photo on Instagram shows Platurn, bowl cut and all, sitting on a speaker with headphones on, blues legend Leadbelly spinning on the turntable.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up immersed in hip-hop culture, inspired by the likes of Ice Cube, NWA, and the Native Tongues crew, Platurn’s interests eventually led him to DJing. At 18, he purchased his own mixer and turntables through an ad in \u003cem>The Source \u003c/em>magazine with money he saved from his summer job at the YMCA. As he began collecting vinyl more regularly, digging for samples naturally led him to the dirty drums in funk and soul music.\u003c/p>\n\u003cp>Platurn first gained notoriety as a founding member of East Bay DJ crew the Oakland Faders, which also includes Joe Quixx, the former host of \u003cem>The Wake Up Show\u003c/em> on hip-hop station 106.1 KMEL. In 2010, during the rise of digital DJing, Platurn started the 45 Sessions, a recurring night at various Oakland clubs that had only one rule: no matter what the DJs played, it had to be on a seven-inch, 45 RPM record.\u003c/p>\n\u003cp>Now, at 42 years old, Platurn has been behind the decks for 24 years. That means he’s been chipping away at \u003cem>Breaking the Ice\u003c/em> for half of his professional career, a labor of love that started as an extended musical conversation with his older cousin Sveimhugi, a former DJ who resides in Reykjavik. Their shared hobby turned into an obsession, and a funkier side of Iceland’s music scene began to reveal itself.\u003c/p>\n\u003ch3>A Record Collection Tells a Personal Story\u003c/h3>\n\u003cp>Platurn first teased the music in \u003cem>Breaking the Ice\u003c/em> at a record swap in San Jose called Dig Dug, and the records instantly caught the attention of music writer David Ma, now an affiliate of Needle to the Groove Records and the author of the \u003cem>Breaking the Ice\u003c/em> liner notes.\u003c/p>\n\u003cp>“It just kind of blew us away,” Ma recalls of the crowd reaction that night. The two emailed about the possibility of releasing the music, and they even previewed the \u003cem>Breaking the Ice\u003c/em> concept in a three-part series on Ma’s music blog \u003ca href=\"https://nerdtorious.com/2009/12/21/breaking-the-ice/\">Nerdtorious\u003c/a> starting in 2009. Back then, Platurn conceived of the project as a compilation; after encountering multiple roadblocks, they settled on releasing it as a mix to better to showcase Platurn’s DJing abilities and familiarity with his source material.\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/378600302″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/378600302″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When conceptualizing the liner notes, both Ma and Platurn wanted to tie the story back to Platurn’s father. They sat with him one evening to hear him share at length about his time as an influential promoter and DJ. “His dad’s hilarious — very forthcoming and very analytical, so it was easy to extract the importance of Iceland’s musical heyday back then,” says Ma. “I think what we did was just try to understand the shortcomings of Icelandic [music] at the time.”\u003c/p>\n\u003cp>Although \u003cem>Breaking the Ice\u003c/em> has informative, contextualizing liner notes, it does not have a tracklist, and that’s strictly by design. In similar cases, when compilations or mixes of ultra-rare music have gained traction, second-hand record prices have skyrocketed as a result, a phenomenon Platurn says he’d rather not contribute to.\u003c/p>\n\u003cp>Platurn’s protectiveness also stems from the fact that tracklists are often seen as trade secrets in the DJ world. He doesn’t leave the house with any of the records featured on the mix, and for good reason: at one point, he thought he lost several of them forever.\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn keeps the crowd engaged at the 45 Sessions Winter Sessions 2017, Nov. 17, 2017 \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years ago, after a gig at 1015 Folsom, around 20 of the records featured on \u003cem>Breaking the Ice\u003c/em> were stolen during a car break-in. Platurn put out a call on social media and even cruised the venue’s neighborhood for weeks after the incident, offering cash to whomever might have a lead. Ten months later, a tip from a friend of a friend led him to a hard rock record shop in the Mission. Thanks to his father’s meticulous cataloging system, Platurn was able to verify that they were indeed his stolen records. Though he was prepared to pay anything, the owner only wanted what he’d paid for the stack: 100 bucks. Platurn gave him 300, thanked him profusely, and parted ways feeling much better about the state of kindness in the world.\u003c/p>\n\u003cp>“The uniqueness of all this is really high, because soul music is not supposed to come from a small island in the North Atlantic,” says Platurn. “None of it is actually 100 percent funk music or hip-hop or anything. It’s just vaguely reminiscent of it, and that’s what makes it so interesting and charming.”\u003c/p>\n\u003cp>Though he made the mix with the idea to showcase a funkier side of Icelandic music, Platurn warns that the collection of songs shouldn’t be considered any sort of definitive cultural statement. “This was my personality at play much more so than me trying to be some thorough archivist for a specific scene back then,” he notes.\u003c/p>\n\u003cp>Asked why he still chooses to collect analog records in an ever-more-digital world, he points to the nostalgia and narrative inevitably tied to one’s record collection. “Every record has a story, and that’s rad,” he says. “Not just a story of the actual release itself, but \u003cem>you\u003c/em> have a story — I have a ton of records I acquired traveling the planet, and that’s dope to me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>DJ Platurn performs as part of the Souls of Mischief Birthday Bash Friday, April 27, at the Uptown in Oakland. More info \u003ca href=\"http://www.uptownnightclub.com/event/souls-mischief-birthday-bash/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SOL Development, the Black Experience, and Hip-Hop as Healing",
"headTitle": "SOL Development, the Black Experience, and Hip-Hop as Healing | 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\">“W\u003c/span>hat do helicopters do for us?” Karega Bailey, lead MC of SOL Development, asked me as we sat inside of Oakland’s Zoo Labs studio earlier this year.\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 search engine in my mind brought up flashbacks of footage from people being passed over during Hurricane Katrina, people being followed during protests in response to the killing of Oscar Grant, and hundreds of bird’s-eye perspective videos of high-speed chases. The mental images kept flashing as SOL Development’s unreleased single, “Helicopters,” played in the background.\u003c/p>\n\u003cp>In the second verse of the song, Karega says, “Whoa! Gotta watch out for the planes too / My prayers go to Syria, we say ya’ll names too / Cause the same hate that we’ve been facing / Is the same hate that bombed they nation.”\u003c/p>\n\u003cp>That’s it. That’s one of the main messages in SOL Development’s music: acknowledging oppressive forces, not just here in California, or in the United States, but worldwide. And beyond that, their music is about combating oppression, empowering the community and pushing for self-determination. All served over this underlying baseline of love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/smCaoa0iA1c\u003c/p>\n\u003cp>As universally applicable as those themes might be, the music industry — specifically, the modern hip-hop business — has proven that actually selling music that touches on those topics can be difficult.\u003c/p>\n\u003cp>The top songs on hip-hop charts are often pop songs, masquerading as the music we’ve come to know as hip-hop. So how does SOL Development plan to sell uplifting hip-hop that has soulful blues-like melodies laid over beats constructed from fusion jazz?\u003c/p>\n\u003cp>More importantly, how do they plan to ensure people hear the message, when there’s so much other noise out there?\u003c/p>\n\u003cfigure id=\"attachment_13829356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829356\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Power-800x601.jpg\" alt=\"On the set of Sol Development's 'Helicopters' video.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the set of Sol Development’s ‘Helicopters’ video. \u003ccite>(Cinque- qlick)\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>imeless music doesn’t compete,” Bailey said in response to my question. “The goal isn’t to compete, it’s to get the music to who it’s for.”\u003c/p>\n\u003cp>Bailey’s quick response was a mic-drop moment during our listening session. Also in the studio were band member Felicia Gangloff-Bailey (who is married to Karega), manager BJ McBride, photographer Ayesha Walker, and artist/ actress Talia Taylor. I think every single one of us had that “Well, he said that!” look on our face as we let the moment linger.\u003c/p>\n\u003cfigure id=\"attachment_13829360\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829360\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-800x1120.jpg\" alt=\"SOL Development perform at Red Bay Coffee in East Oakland.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-1180x1653.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_.jpg 1371w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development perform at Red Bay Coffee in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timeless music doesn’t compete\u003c/em>. That’s a strong stance. And we’ll see how it holds up when their debut album, yet to be titled, drops this spring.\u003c/p>\n\u003cp>But before that happens, I can tell you that the group has been successful thus far.\u003c/p>\n\u003cp>Since I first met the folks from SOL Development, a group made of Karega Bailey, Brittany Tanner, Lauren Adams and Felicia Gangloff-Bailey, it seems like I’ve seen them everywhere. In the past two years I’ve seen them rock the Red Bay Coffee shop in East Oakland, shows on the street at First Friday in Oakland’s Uptown, and even the Oakland Museum. (I wish I could’ve seen them play the huge SXSW festival in Austin this year, just to see the crowd’s reaction, but I gather from Instagram that the group was well-received.)\u003c/p>\n\u003cp>Simply put, it’s good music: jazzy tunes, with clear lyrics and quality vocals, not to mention its themes are extremely relevant to the current news in America, especially right here in Northern California.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It’s easy to love being black, but do you love black folks? If you can’t understand the question, you’ve never tried to love black folks.’\u003c/aside>\n\u003cp>A couple of weeks ago, the shooting of Stephon Clark by a Sacramento police officer brought national attention to our state’s capitol. In the midst of the protestors, cameras and helicopters, SOL Development was right there. “I grew up on that same block,” said Bailey during a recent phone conversation. He told me that the neighborhood is a “forgotten part of Sacramento” where tourism and government dollars don’t reach.\u003c/p>\n\u003cp>To Bailey, being there for the protests was powerful, not just as a person who grew up there, but also as an artist who speaks about these issues and draws from real-world experience. “The teaching isn’t in the rhetoric. The rhetoric codes the instructions, but you have to undergo it to understand it,” Bailey told me. “This isn’t secondary research. You have to model it by living it.”\u003c/p>\n\u003cp>And modeling it isn’t always easy.\u003c/p>\n\u003cfigure id=\"attachment_13829355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829355\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Piano-800x538.jpg\" alt=\"On the set of Sol Development's 'Helicopters' video.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the set of Sol Development’s ‘Helicopters’ video. \u003ccite>(Cinque- qlick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ailey’s brother was shot and killed by another black man in Sacramento a few years ago. And although Bailey and his crew walk and talk a pro-African American message, he stands firm in his belief that, at times, it’s hard to love black people.\u003c/p>\n\u003cp>“It’s easy to love being black, but do you love black folks? If you can’t understand the question, you’ve never tried to love black folks,” said Bailey.\u003c/p>\n\u003cp>“We’re looking at some of the most scarred people; we’re beauty, but we’re scarred. And we haven’t received the healing, collectively. When you love wounded people, you have to be on the sacrificing end of love. And very few people are willing to be on the end of that,” said Bailey.\u003c/p>\n\u003cp>He added that it’s easy to love being black, because it’s popularized. I laughed as he said that you get to inherit the “spirit of cool.” And I silently nodded in agreement as he said it also comes with inherited wounds. “It’s not easy when you realize the guy who killed your brother, his pops is in prison too,” Bailey said.\u003c/p>\n\u003cp>Heavy. To hear that from a man who speaks of righteousness. A person who wears Black Panther logos, earth tones, and a hat that reads “Peace King.” A person who teaches at a school named after a Tupac poem, \u003ca href=\"http://rosesinconcrete.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Roses In Concrete\u003c/a>. A person who, every time I’ve seen him perform, always gets a solid percentage of the crowd to raise a fist to the sky — no matter what’s going on in the world.\u003c/p>\n\u003cfigure id=\"attachment_13829357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SolDev1-800x533.jpg\" alt=\"SOL Development perform at Red Bay Coffee in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development perform at Red Bay Coffee in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whichever old scars people are healing from, or whatever current events are causing new scars, Bailey and crew are present, consistently putting on quality shows with strong performances from Tanner, Adams and Gangloff, who also write some of the groups’ music. Constantly working strategically with other artists and notable producers like Alameda’s Trackademicks to Sacramento’s Mino Yanci.\u003c/p>\n\u003cp>Now it’s time to see how that consistency translates. How will crowds react to the group’s album? And how will it bring healing to the masses?\u003c/p>\n\u003cp>Regardless of the answers, it’s powerful in itself to hear entertainers speak of collective healing. Especially when the wounds are front-and-center, evident in the individuals, the community and the entertainment industry in itself. You don’t need to be up close to see it. It’s easily identifiable from far away; you could literally be sitting in a helicopter and see the pain in the black community in America, and how it relates to oppressed people around the world.\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": "SOL Development's music combats oppression and pushes for self-determination. But how does the industry treat their brand of hip-hop?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“W\u003c/span>hat do helicopters do for us?” Karega Bailey, lead MC of SOL Development, asked me as we sat inside of Oakland’s Zoo Labs studio earlier this year.\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 search engine in my mind brought up flashbacks of footage from people being passed over during Hurricane Katrina, people being followed during protests in response to the killing of Oscar Grant, and hundreds of bird’s-eye perspective videos of high-speed chases. The mental images kept flashing as SOL Development’s unreleased single, “Helicopters,” played in the background.\u003c/p>\n\u003cp>In the second verse of the song, Karega says, “Whoa! Gotta watch out for the planes too / My prayers go to Syria, we say ya’ll names too / Cause the same hate that we’ve been facing / Is the same hate that bombed they nation.”\u003c/p>\n\u003cp>That’s it. That’s one of the main messages in SOL Development’s music: acknowledging oppressive forces, not just here in California, or in the United States, but worldwide. And beyond that, their music is about combating oppression, empowering the community and pushing for self-determination. All served over this underlying baseline of love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/smCaoa0iA1c'\n title='//www.youtube.com/embed/smCaoa0iA1c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As universally applicable as those themes might be, the music industry — specifically, the modern hip-hop business — has proven that actually selling music that touches on those topics can be difficult.\u003c/p>\n\u003cp>The top songs on hip-hop charts are often pop songs, masquerading as the music we’ve come to know as hip-hop. So how does SOL Development plan to sell uplifting hip-hop that has soulful blues-like melodies laid over beats constructed from fusion jazz?\u003c/p>\n\u003cp>More importantly, how do they plan to ensure people hear the message, when there’s so much other noise out there?\u003c/p>\n\u003cfigure id=\"attachment_13829356\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829356\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Power-800x601.jpg\" alt=\"On the set of Sol Development's 'Helicopters' video.\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Power-520x391.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the set of Sol Development’s ‘Helicopters’ video. \u003ccite>(Cinque- qlick)\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>imeless music doesn’t compete,” Bailey said in response to my question. “The goal isn’t to compete, it’s to get the music to who it’s for.”\u003c/p>\n\u003cp>Bailey’s quick response was a mic-drop moment during our listening session. Also in the studio were band member Felicia Gangloff-Bailey (who is married to Karega), manager BJ McBride, photographer Ayesha Walker, and artist/ actress Talia Taylor. I think every single one of us had that “Well, he said that!” look on our face as we let the moment linger.\u003c/p>\n\u003cfigure id=\"attachment_13829360\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829360\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-800x1120.jpg\" alt=\"SOL Development perform at Red Bay Coffee in East Oakland.\" width=\"800\" height=\"1120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-768x1076.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-1020x1428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-857x1200.jpg 857w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-1180x1653.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-960x1344.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-240x336.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-375x525.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_-520x728.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev.Fists_.jpg 1371w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development perform at Red Bay Coffee in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Timeless music doesn’t compete\u003c/em>. That’s a strong stance. And we’ll see how it holds up when their debut album, yet to be titled, drops this spring.\u003c/p>\n\u003cp>But before that happens, I can tell you that the group has been successful thus far.\u003c/p>\n\u003cp>Since I first met the folks from SOL Development, a group made of Karega Bailey, Brittany Tanner, Lauren Adams and Felicia Gangloff-Bailey, it seems like I’ve seen them everywhere. In the past two years I’ve seen them rock the Red Bay Coffee shop in East Oakland, shows on the street at First Friday in Oakland’s Uptown, and even the Oakland Museum. (I wish I could’ve seen them play the huge SXSW festival in Austin this year, just to see the crowd’s reaction, but I gather from Instagram that the group was well-received.)\u003c/p>\n\u003cp>Simply put, it’s good music: jazzy tunes, with clear lyrics and quality vocals, not to mention its themes are extremely relevant to the current news in America, especially right here in Northern California.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘It’s easy to love being black, but do you love black folks? If you can’t understand the question, you’ve never tried to love black folks.’\u003c/aside>\n\u003cp>A couple of weeks ago, the shooting of Stephon Clark by a Sacramento police officer brought national attention to our state’s capitol. In the midst of the protestors, cameras and helicopters, SOL Development was right there. “I grew up on that same block,” said Bailey during a recent phone conversation. He told me that the neighborhood is a “forgotten part of Sacramento” where tourism and government dollars don’t reach.\u003c/p>\n\u003cp>To Bailey, being there for the protests was powerful, not just as a person who grew up there, but also as an artist who speaks about these issues and draws from real-world experience. “The teaching isn’t in the rhetoric. The rhetoric codes the instructions, but you have to undergo it to understand it,” Bailey told me. “This isn’t secondary research. You have to model it by living it.”\u003c/p>\n\u003cp>And modeling it isn’t always easy.\u003c/p>\n\u003cfigure id=\"attachment_13829355\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829355\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Piano-800x538.jpg\" alt=\"On the set of Sol Development's 'Helicopters' video.\" width=\"800\" height=\"538\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Piano-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the set of Sol Development’s ‘Helicopters’ video. \u003ccite>(Cinque- qlick)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ailey’s brother was shot and killed by another black man in Sacramento a few years ago. And although Bailey and his crew walk and talk a pro-African American message, he stands firm in his belief that, at times, it’s hard to love black people.\u003c/p>\n\u003cp>“It’s easy to love being black, but do you love black folks? If you can’t understand the question, you’ve never tried to love black folks,” said Bailey.\u003c/p>\n\u003cp>“We’re looking at some of the most scarred people; we’re beauty, but we’re scarred. And we haven’t received the healing, collectively. When you love wounded people, you have to be on the sacrificing end of love. And very few people are willing to be on the end of that,” said Bailey.\u003c/p>\n\u003cp>He added that it’s easy to love being black, because it’s popularized. I laughed as he said that you get to inherit the “spirit of cool.” And I silently nodded in agreement as he said it also comes with inherited wounds. “It’s not easy when you realize the guy who killed your brother, his pops is in prison too,” Bailey said.\u003c/p>\n\u003cp>Heavy. To hear that from a man who speaks of righteousness. A person who wears Black Panther logos, earth tones, and a hat that reads “Peace King.” A person who teaches at a school named after a Tupac poem, \u003ca href=\"http://rosesinconcrete.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Roses In Concrete\u003c/a>. A person who, every time I’ve seen him perform, always gets a solid percentage of the crowd to raise a fist to the sky — no matter what’s going on in the world.\u003c/p>\n\u003cfigure id=\"attachment_13829357\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829357\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/SolDev1-800x533.jpg\" alt=\"SOL Development perform at Red Bay Coffee in East Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/SolDev1-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">SOL Development perform at Red Bay Coffee in East Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whichever old scars people are healing from, or whatever current events are causing new scars, Bailey and crew are present, consistently putting on quality shows with strong performances from Tanner, Adams and Gangloff, who also write some of the groups’ music. Constantly working strategically with other artists and notable producers like Alameda’s Trackademicks to Sacramento’s Mino Yanci.\u003c/p>\n\u003cp>Now it’s time to see how that consistency translates. How will crowds react to the group’s album? And how will it bring healing to the masses?\u003c/p>\n\u003cp>Regardless of the answers, it’s powerful in itself to hear entertainers speak of collective healing. Especially when the wounds are front-and-center, evident in the individuals, the community and the entertainment industry in itself. You don’t need to be up close to see it. It’s easily identifiable from far away; you could literally be sitting in a helicopter and see the pain in the black community in America, and how it relates to oppressed people around the world.\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": "In the Field with The East Oakland Collective, a Grassroots Group Aiding the Homeless",
"headTitle": "In the Field with The East Oakland Collective, a Grassroots Group Aiding the Homeless | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s a kid, I vividly remember asking myself, how does someone end up homeless? How could you collect change all day and not have enough for a place to stay? How could there be so many empty buildings downtown, with the lights on at night, while there are people sleeping outside?\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 never brought those questions to the people sleeping at the bus stop, surviving under the freeway or living in temporary shelters on the sidewalk. But I should’ve asked. That’s how to get the real story about how someone becomes homeless, and how we can help them.\u003c/p>\n\u003cp>Last month, I sat at a 20-foot-long brown lunch table in the multipurpose room of Oakland SOL Middle School in East Oakland as Mitzi Lewis, a formerly unsheltered woman, engaged in a dialogue with over 40 students.\u003c/p>\n\u003cp>After an eager trio of students asked the first questions, the rest of the inquisitive 6\u003csup>th\u003c/sup> graders rapidly followed suit. It was like watching a pack of post-game reporters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Do unsheltered students go to school?” and “What can the Oakland SOL math class do to help the unsheltered?” the kids asked.\u003c/p>\n\u003cp>Lewis used her lived experience to provide answers.\u003c/p>\n\u003cfigure id=\"attachment_13828844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-800x600.jpg\" alt=\"Mitzi Lewis, a formerly homeless Oakland resident, talks about her life experiences with students from Sol Middle School in East Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mitzi Lewis, a formerly homeless Oakland resident, talks about her life experiences with students from Oakland SOL Middle School in East Oakland. \u003ccite>(Pendarvis Harshaw )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve never stayed at a shelter,” said Lewis. “Some are safe, some aren’t. Especially for women.”\u003c/p>\n\u003cp>She told them about dialing 2-1-1 on these ancient things called pay phones to get information on food and health services. She mentioned the double standard of churches, “where they tell you to ‘come as you are’ but judge you when you walk in the door.”\u003c/p>\n\u003cp>She told them about the compromise people face when they send their kid to school while homeless; fearing that if a staff member finds out, they’ll report the family and have child taken away.\u003c/p>\n\u003cp>She mentioned the unexpected death of one of her daughters and the depression that came thereafter. That depression led to lack of motivation, and subsequent unpaid bills, which ultimately led to homelessness.\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\">L\u003c/span>ewis spoke at Oakland SOL Middle School with Nick Houston, who serves as the Community Engagement Officer for The East Oakland Collective, an organization that works on a multi-tiered approach for community betterment, through civic engagement, economic empowerment and initiatives on homelessness.\u003c/p>\n\u003cp>The collective has only been around for just over two years, but during that short time, it has become a conduit for local residents to voice their concerns and take action. There’s the \u003ca href=\"https://www.facebook.com/eoakcollective/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> page, which is updated multiple times per day. There are community forums, where politicians listen to their constituents. And then there are the food giveaways, the most recent of which brought out over 300 people to make lunches and toiletry bags at 7am on the Oakland SOL campus. The next one, on Apr. 15 , is expecting even more volunteers. (You can \u003ca href=\"http://bit.ly/feedthehood5\" target=\"_blank\" rel=\"noopener noreferrer\">sign up here\u003c/a>).\u003c/p>\n\u003cp>The collective even worked with Lewis to get her off the street and back on her feet by running a successful GoFundMe campaign. Lewis got the keys to her new house just days prior to speaking to the students.\u003c/p>\n\u003cfigure id=\"attachment_13828845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-800x600.jpg\" alt=\"Nick Houston of East Oakland Collective checks on the homeless encampments in East Oakland once a week to assess residents' needs.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Houston of The East Oakland Collective checks on the homeless encampments in East Oakland once a week to assess residents’ needs. \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\">L\u003c/span>ess than an hour after Lewis’ talk with the preteens concluded, Houston and I were on the streets of East Oakland. He allowed me to come along during a check-in on a nearby encampment. This is something he does a couple of times per week, sometimes during his off day from his full-time job or after work.\u003c/p>\n\u003cp>“I’ve been checking in the Deep East Oakland encampments; they’re the most overlooked encampments in Oakland,” said Houston. “But I’ve touched every encampment in Oakland.”\u003c/p>\n\u003cp>He told me about the work he does as we walked through the rain-soaked grounds. The fraught landscape looked almost like another country.\u003c/p>\n\u003cp>We came to a plot of land bordered by train tracks ran to our right and busy San Leandro Street to our left. Houses made of plywood and camping tents stood adjacent to a mound of old bike parts. There was a noticeable spot where a fire had recently occurred, one of the many encampment fires as of late.\u003c/p>\n\u003cp>“The misnomer is that the homeless population are drunks or on drugs. Most of these folks work or have income,” Houston told me as a BART train ran overhead. “They just can’t afford $2,200 for a one bedroom, or $6,000 to move in! I can’t even afford that.”\u003c/p>\n\u003cp>He followed up by telling me another reason he does the work, “For one, people don’t look at them like they’re human. And for two: shit, this could be us!”\u003c/p>\n\u003cfigure id=\"attachment_13828846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-800x600.jpg\" alt=\"A temporary shelter near a creek at a homeless encampment in East Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A temporary shelter near a creek at a homeless encampment in East Oakland. \u003ccite>(Pendarvis Harshaw )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he problem of homelessness is multilayered and needs to be tackled on multiple levels. So while Houston is checking encampments, Marquita “Keta” Price, an Oakland native who serves as the collective’s Urban and Regional Planning Officer, is networking with other stakeholders. Price says that The East Oakland Collective has worked with Alameda County Flood Control & Water Conservation District, BART and the East Bay MUD, to name a few.\u003c/p>\n\u003cp>“The networking has been the greatest gain,” Price told me over the phone. “The networking has allowed us to gain insight on what these agencies are doing.”\u003c/p>\n\u003cp>Price, a college student who works with Oakland City Councilmember Abel Guillen says, “on my lunch break, I’m taking calls for EOC.”\u003c/p>\n\u003cp>She finished by telling me that The East Oakland Collective provided an opportunity for her to apply her vision for cooperative economics, and she credits Candice Elder for that.\u003c/p>\n\u003cp>Elder is the founder and director of the East Oakland Collective. She’s a former paralegal and President of the Museum of African Diaspora Vanguard Board. She left her job to do work full-time in the community she grew up in.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We want dedicated folks who want to make change in East Oakland.’ — Candice Elder, founder of The East Oakland Collective\u003c/aside>\n\u003cp>“Driving through the East, going down Hegenberger and commuting to S.F., I could see the lack of resources,” Elder told me. “Nothing has changed, as far as development, in years. All these places I remember fondly as a child, and they were thriving. This area is the last frontier. We have to do something, I have to do something.”\u003c/p>\n\u003cp>She simply started with a Facebook group. “If I’m feeling this way, I wonder how many other people of like mind are feeling this way?” She questioned.\u003c/p>\n\u003cp>And from that, a grassroots organization grew. It’s membership based, with an application process, but fees are waived. “We are more concerned about building community power than charging people,” says Elder.\u003c/p>\n\u003cp>“We want dedicated folks who want to make change in East Oakland.”\u003c/p>\n\u003cp>What better people than the youth? And what better way to inform their efforts to create change than to give them firsthand accounts of the issues at hand?\u003c/p>\n\u003cfigure id=\"attachment_13828860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DSCF8602-800x533.jpg\" alt=\"East Oakland Collective started out as a Facebook group but quickly grew into a multi-tiered action network.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland Collective started out as a Facebook group but quickly grew into a multi-tiered action network. \u003ccite>(Charles Lee/@picturemesirius)\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\">G\u003c/span>oing back to the conversation between Mitzi Lewis and the students, there was an exchange that I heard just before leaving the campus of Oakland SOL Middle School that still resonates with me.\u003c/p>\n\u003cp>“What do our unsheltered neighbors need?” One student asked toward the end of the discussion.\u003c/p>\n\u003cp>“Other than housing,” Nick Houston added.\u003c/p>\n\u003cp>“Peace of mind,” said Lewis. Adding that a simple “hello” goes a long way.\u003c/p>\n\u003cp>Lewis concluded by saying, “You go back to your parents and tell them, just because we look different and don’t have housing, don’t judge us by the way we look.”\u003c/p>\n\u003cp>Like most kids, I was taught to not talk to strangers, and to be aware of “crazy” people. And I don’t wholeheartedly disagree with that philosophy, as safety is a priority. But, if I would’ve had a platform to engage in dialogue with people from my community, I bet it would’ve erased some of the “stranger danger,” the fear or preconceived notions surrounding homelessness — and that might have opened up more channels to assist people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span>s a kid, I vividly remember asking myself, how does someone end up homeless? How could you collect change all day and not have enough for a place to stay? How could there be so many empty buildings downtown, with the lights on at night, while there are people sleeping outside?\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 never brought those questions to the people sleeping at the bus stop, surviving under the freeway or living in temporary shelters on the sidewalk. But I should’ve asked. That’s how to get the real story about how someone becomes homeless, and how we can help them.\u003c/p>\n\u003cp>Last month, I sat at a 20-foot-long brown lunch table in the multipurpose room of Oakland SOL Middle School in East Oakland as Mitzi Lewis, a formerly unsheltered woman, engaged in a dialogue with over 40 students.\u003c/p>\n\u003cp>After an eager trio of students asked the first questions, the rest of the inquisitive 6\u003csup>th\u003c/sup> graders rapidly followed suit. It was like watching a pack of post-game reporters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Do unsheltered students go to school?” and “What can the Oakland SOL math class do to help the unsheltered?” the kids asked.\u003c/p>\n\u003cp>Lewis used her lived experience to provide answers.\u003c/p>\n\u003cfigure id=\"attachment_13828844\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828844\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-800x600.jpg\" alt=\"Mitzi Lewis, a formerly homeless Oakland resident, talks about her life experiences with students from Sol Middle School in East Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-3-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mitzi Lewis, a formerly homeless Oakland resident, talks about her life experiences with students from Oakland SOL Middle School in East Oakland. \u003ccite>(Pendarvis Harshaw )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’ve never stayed at a shelter,” said Lewis. “Some are safe, some aren’t. Especially for women.”\u003c/p>\n\u003cp>She told them about dialing 2-1-1 on these ancient things called pay phones to get information on food and health services. She mentioned the double standard of churches, “where they tell you to ‘come as you are’ but judge you when you walk in the door.”\u003c/p>\n\u003cp>She told them about the compromise people face when they send their kid to school while homeless; fearing that if a staff member finds out, they’ll report the family and have child taken away.\u003c/p>\n\u003cp>She mentioned the unexpected death of one of her daughters and the depression that came thereafter. That depression led to lack of motivation, and subsequent unpaid bills, which ultimately led to homelessness.\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\">L\u003c/span>ewis spoke at Oakland SOL Middle School with Nick Houston, who serves as the Community Engagement Officer for The East Oakland Collective, an organization that works on a multi-tiered approach for community betterment, through civic engagement, economic empowerment and initiatives on homelessness.\u003c/p>\n\u003cp>The collective has only been around for just over two years, but during that short time, it has become a conduit for local residents to voice their concerns and take action. There’s the \u003ca href=\"https://www.facebook.com/eoakcollective/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> page, which is updated multiple times per day. There are community forums, where politicians listen to their constituents. And then there are the food giveaways, the most recent of which brought out over 300 people to make lunches and toiletry bags at 7am on the Oakland SOL campus. The next one, on Apr. 15 , is expecting even more volunteers. (You can \u003ca href=\"http://bit.ly/feedthehood5\" target=\"_blank\" rel=\"noopener noreferrer\">sign up here\u003c/a>).\u003c/p>\n\u003cp>The collective even worked with Lewis to get her off the street and back on her feet by running a successful GoFundMe campaign. Lewis got the keys to her new house just days prior to speaking to the students.\u003c/p>\n\u003cfigure id=\"attachment_13828845\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828845\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-800x600.jpg\" alt=\"Nick Houston of East Oakland Collective checks on the homeless encampments in East Oakland once a week to assess residents' needs.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-2-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nick Houston of The East Oakland Collective checks on the homeless encampments in East Oakland once a week to assess residents’ needs. \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\">L\u003c/span>ess than an hour after Lewis’ talk with the preteens concluded, Houston and I were on the streets of East Oakland. He allowed me to come along during a check-in on a nearby encampment. This is something he does a couple of times per week, sometimes during his off day from his full-time job or after work.\u003c/p>\n\u003cp>“I’ve been checking in the Deep East Oakland encampments; they’re the most overlooked encampments in Oakland,” said Houston. “But I’ve touched every encampment in Oakland.”\u003c/p>\n\u003cp>He told me about the work he does as we walked through the rain-soaked grounds. The fraught landscape looked almost like another country.\u003c/p>\n\u003cp>We came to a plot of land bordered by train tracks ran to our right and busy San Leandro Street to our left. Houses made of plywood and camping tents stood adjacent to a mound of old bike parts. There was a noticeable spot where a fire had recently occurred, one of the many encampment fires as of late.\u003c/p>\n\u003cp>“The misnomer is that the homeless population are drunks or on drugs. Most of these folks work or have income,” Houston told me as a BART train ran overhead. “They just can’t afford $2,200 for a one bedroom, or $6,000 to move in! I can’t even afford that.”\u003c/p>\n\u003cp>He followed up by telling me another reason he does the work, “For one, people don’t look at them like they’re human. And for two: shit, this could be us!”\u003c/p>\n\u003cfigure id=\"attachment_13828846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-800x600.jpg\" alt=\"A temporary shelter near a creek at a homeless encampment in East Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Image-uploaded-from-iOS-1-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A temporary shelter near a creek at a homeless encampment in East Oakland. \u003ccite>(Pendarvis Harshaw )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>he problem of homelessness is multilayered and needs to be tackled on multiple levels. So while Houston is checking encampments, Marquita “Keta” Price, an Oakland native who serves as the collective’s Urban and Regional Planning Officer, is networking with other stakeholders. Price says that The East Oakland Collective has worked with Alameda County Flood Control & Water Conservation District, BART and the East Bay MUD, to name a few.\u003c/p>\n\u003cp>“The networking has been the greatest gain,” Price told me over the phone. “The networking has allowed us to gain insight on what these agencies are doing.”\u003c/p>\n\u003cp>Price, a college student who works with Oakland City Councilmember Abel Guillen says, “on my lunch break, I’m taking calls for EOC.”\u003c/p>\n\u003cp>She finished by telling me that The East Oakland Collective provided an opportunity for her to apply her vision for cooperative economics, and she credits Candice Elder for that.\u003c/p>\n\u003cp>Elder is the founder and director of the East Oakland Collective. She’s a former paralegal and President of the Museum of African Diaspora Vanguard Board. She left her job to do work full-time in the community she grew up in.\u003c/p>\n\u003caside class=\"pullquote alignright\">‘We want dedicated folks who want to make change in East Oakland.’ — Candice Elder, founder of The East Oakland Collective\u003c/aside>\n\u003cp>“Driving through the East, going down Hegenberger and commuting to S.F., I could see the lack of resources,” Elder told me. “Nothing has changed, as far as development, in years. All these places I remember fondly as a child, and they were thriving. This area is the last frontier. We have to do something, I have to do something.”\u003c/p>\n\u003cp>She simply started with a Facebook group. “If I’m feeling this way, I wonder how many other people of like mind are feeling this way?” She questioned.\u003c/p>\n\u003cp>And from that, a grassroots organization grew. It’s membership based, with an application process, but fees are waived. “We are more concerned about building community power than charging people,” says Elder.\u003c/p>\n\u003cp>“We want dedicated folks who want to make change in East Oakland.”\u003c/p>\n\u003cp>What better people than the youth? And what better way to inform their efforts to create change than to give them firsthand accounts of the issues at hand?\u003c/p>\n\u003cfigure id=\"attachment_13828860\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828860\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DSCF8602-800x533.jpg\" alt=\"East Oakland Collective started out as a Facebook group but quickly grew into a multi-tiered action network.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DSCF8602-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Oakland Collective started out as a Facebook group but quickly grew into a multi-tiered action network. \u003ccite>(Charles Lee/@picturemesirius)\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\">G\u003c/span>oing back to the conversation between Mitzi Lewis and the students, there was an exchange that I heard just before leaving the campus of Oakland SOL Middle School that still resonates with me.\u003c/p>\n\u003cp>“What do our unsheltered neighbors need?” One student asked toward the end of the discussion.\u003c/p>\n\u003cp>“Other than housing,” Nick Houston added.\u003c/p>\n\u003cp>“Peace of mind,” said Lewis. Adding that a simple “hello” goes a long way.\u003c/p>\n\u003cp>Lewis concluded by saying, “You go back to your parents and tell them, just because we look different and don’t have housing, don’t judge us by the way we look.”\u003c/p>\n\u003cp>Like most kids, I was taught to not talk to strangers, and to be aware of “crazy” people. And I don’t wholeheartedly disagree with that philosophy, as safety is a priority. But, if I would’ve had a platform to engage in dialogue with people from my community, I bet it would’ve erased some of the “stranger danger,” the fear or preconceived notions surrounding homelessness — and that might have opened up more channels to assist people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Photographer Juggling Contract Gigs, Toddler in Tow",
"headTitle": "A Photographer Juggling Contract Gigs, Toddler in Tow | KQED",
"content": "\u003cp>At \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener\">The Universe Is Lit\u003c/a>, the black and brown punk festival that took place last August, \u003ca href=\"http://www.sashakelley.info/\" target=\"_blank\" rel=\"noopener\">Sasha Kelley\u003c/a> sat in the crowd of a scrappy backyard show in Oakland, watching the singer of a hardcore band yell into the microphone as dreadlocked and blue-lipsticked fans moshed around her. From behind, she blended right in with the other twenty-something-year-old attendees. But in her lap, she held her dimpled three-year-old daughter Ameenah, happily bobbing her head along to the music.\u003c/p>\n\u003cfigure id=\"attachment_13828294\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being an artist and entrepreneur in Oakland takes a lot of networking, and multitasking childcare and events is something Kelley, a single mom, has become quite good at in recent years. She’s a photographer with her own practice (most recently, her work was featured in the Berkeley Art Museum and Pacific Film Archive’s \u003ca href=\"https://www.kqed.org/arts/13819924\" target=\"_blank\" rel=\"noopener\">\u003cem>Way Bay\u003c/em> exhibition\u003c/a>). But much of her other, community-based projects are rooted in the “it takes a village” mentality — not just toward raising Ameenah, but in her entire business approach.\u003c/p>\n\u003cp>Kelley is the co-founder of \u003ca href=\"http://www.thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">House of Malico\u003c/a>, an activist-oriented creative agency that presents events like the recent \u003ca href=\"https://bampfa.org/event/house-malico-spectrum-summit\" target=\"_blank\" rel=\"noopener\">Spectrum Summit\u003c/a>, a community discussion on black mental health that took place in March at BAMPFA. House of Malico’s work spans many disciplines, but its core principles hinge on creating paths to financial solvency for artists and alternative wellness practitioners, whether through events, marketing, other creative services, or workshops.\u003c/p>\n\u003cp>“The House of Malico exists to create jobs for women of color,” says Kelley, “And more specifically, to give these creatives market-rate or above-market-rate opportunities to fulfill their passions — not the starving artist idea.”\u003c/p>\n\u003cfigure id=\"attachment_13828283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-800x534.jpg\" alt=\"Sasha Kelley co-founded House of Malico to create paths to financial solvency for artists and women of color in the Bay Area.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley co-founded House of Malico to create paths to financial solvency for artists and women of color in the Bay Area. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that goal has come with its challenges for Kelley, who makes roughly $18,000 a year through a combination of grants, freelance work, and government assistance. Getting by on that income, let alone with a child, might seem impossible at a time when living expenses are skyrocketing across the Bay Area. But Kelley is incredibly resourceful, and taps into a like-minded community of artists to make her life manageable as she works towards creative goals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I see my long-term goal: I’m working towards my retrospective show, and working from when I’m 75, chillin’ on the beach and drinking lemonade,” she says. “I see the bigger vision. And I also am very adamant about working for myself and taking the sacrifice.”\u003c/p>\n\u003ch3>‘We have to be incredibly resourceful. There’s not really any other way.’\u003c/h3>\n\u003cp>Those sacrifices come in many forms. Kelley and Ameenah live in Pittsburg with Kelley’s grandmother (where rent is $800), but nearly everything else in their lives takes place in Oakland, the heart of the East Bay’s art scene. Pittsburg is a two-and-a-half hour commute from Ameenah’s private preschool in the Oakland hills, which would ordinarily would cost the family $1,200 a month, but is free thanks to a scholarship.\u003c/p>\n\u003cp>After taking Ameenah to school, Kelley then commutes another hour by bus to her job at \u003ca href=\"http://alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Museum\u003c/a>, an art gallery and event space in West Oakland. The mother and daughter often couch-surf with friends during the week to save time on the commute.\u003c/p>\n\u003cfigure id=\"attachment_13828284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-800x534.jpg\" alt=\"Sasha Kelley with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An added challenge is that Ameenah’s dad, with whom Kelley typically co-parents, recently moved to L.A. to pursue a music career, meaning that Kelley has their three-year-old full time. As another money-saving move, Kelley recently began doing photography for one of her friends, another young mom, in exchange for free childcare.\u003c/p>\n\u003cp>“It’s actually been really good,” she says. “I’m able to get the time that I need to sleep and do whatever adult things I need in that time. And it’s also propelling my photography practice.”\u003c/p>\n\u003cp>Kelley relies on work-trades to afford certain necessities, one of which is her art studio at Alena Museum. As the executive assistant, she organizes events, writes grants, and takes care of strategic planning, cleaning, and whatever else needs to get done in exchange for her studio space, which would otherwise cost $250 a month. (She does, however, spend $150 a month on film for her camera.)\u003c/p>\n\u003cfigure id=\"attachment_13828282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-800x534.jpg\" alt=\"Sasha Kelley working at Alena Museum in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley working at Alena Museum in West Oakland. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Government assistance helps provide some stability, but Kelley is actively working towards the goal of getting off welfare, which currently provides her with $580 a month in cash assistance and $300 in food stamps. She has an upcoming meeting with a social worker from Contra Costa County to examine ways to make House of Malico more profitable.\u003c/p>\n\u003cp>“For these last few years of me figuring it out, things have been really tight. But it’s starting to feel like it’s paying off,” she says. “Things are getting more clear with House of Malico and business, things are starting to align, people are starting to reach out to us.”\u003c/p>\n\u003cp>While many young artists in the Bay Area have parents helping pay their rent, relying on family for financial support isn’t an option for Kelley. “[Ameenah’s dad and I] both come from families that were heavily impacted by the crack epidemic in different ways,” she says. “It’s just a blessing that we are sane and following our passions, and within that, we have to be incredibly resourceful. There’s not really any other way.”\u003c/p>\n\u003ch3>Cultivating sustainable sources of income\u003c/h3>\n\u003cp>Most of Kelley’s income-generating gigs come through the House of Malico. She received a $2,500 stipend from the San Francisco Foundation for House of Malico’s latest project, \u003ca href=\"http://www.thehouseofmalico.com/elements-retreat\" target=\"_blank\" rel=\"noopener\">Elements\u003c/a>, a retreat for artists and activists of color to strategize for social justice and practice self-care. House of Malico also does marketing for local small-business clients like \u003ca href=\"https://www.sumistouch.com/\" target=\"_blank\" rel=\"noopener\">Sumi’s Touch\u003c/a>, Oakland activist Sumayyah Franklin’s midwifery business. And freelance photography gigs also come in occasionally. Kelley estimates that about $12,500 of her annual earnings come from art-related work.\u003c/p>\n\u003cfigure id=\"attachment_13828281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-800x534.jpg\" alt=\"Sasha Kelley at Alena Museum in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley at Alena Museum in West Oakland. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contract gigs for House of Malico tend to come in spurts, so Kelley has to budget carefully to prepare for dry periods between jobs.\u003c/p>\n\u003cp>“Last year we got a good-sized contract with \u003ca href=\"http://eastoaklandbhc.org/\" target=\"_blank\" rel=\"noopener\">East Oakland Building Healthy Communities\u003c/a>. So I was like, ‘Dope! I have my goal monthly income,’” says Kelley. “But usually a lot of the clients we have might be for three to four months, so just figuring out that gap of like, our needs are met — and now we don’t have any clients, so what does that look like? I’m teaching myself how to save and getting a little more financial literacy so that when those gaps come, I’m not shit out of luck.”\u003c/p>\n\u003cp>Kelley has been trying to move to Oakland instead of crashing with friends during the week, but her housing search hasn’t been fruitful; it turns out most single people living with roommates don’t want small children around. So alongside three other single moms, she’s looking to start something called Mom House, a co-op for fellow single-mom artists who share childcare and domestic duties so that they can have time to work on their various crafts — and eat and shower in peace.\u003c/p>\n\u003cfigure id=\"attachment_13828287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg\" alt=\"Sasha Kelley, pictured in West Oakland with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley, pictured in West Oakland with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelley says she’s considered taking a more traditional full-time job, but she’s worried about how being an overworked, stretched-thin single mother would impact her relationship with her daughter.\u003c/p>\n\u003cp>“I did that growing up with my mom, and two decades later, we’re still healing our relationship from the time we missed when she was working to provide a house and food for us,” she says, narrowing her eyes with determination. “I don’t want that. I want to be present for Ameenah.”\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>For more stories in ‘The Hustle,’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Artists, we want to know: what’s your hustle? Take our Bay Area artist survey \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At \u003ca href=\"https://www.sfchronicle.com/music/article/The-Universe-Is-Lit-puts-light-on-black-and-brown-11728121.php\" target=\"_blank\" rel=\"noopener\">The Universe Is Lit\u003c/a>, the black and brown punk festival that took place last August, \u003ca href=\"http://www.sashakelley.info/\" target=\"_blank\" rel=\"noopener\">Sasha Kelley\u003c/a> sat in the crowd of a scrappy backyard show in Oakland, watching the singer of a hardcore band yell into the microphone as dreadlocked and blue-lipsticked fans moshed around her. From behind, she blended right in with the other twenty-something-year-old attendees. But in her lap, she held her dimpled three-year-old daughter Ameenah, happily bobbing her head along to the music.\u003c/p>\n\u003cfigure id=\"attachment_13828294\" class=\"wp-caption alignright\" style=\"max-width: 250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13828294\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250.jpg\" alt=\"By the numbers.\" width=\"250\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250.jpg 250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/sasha-kelley-stats_b_250-240x320.jpg 240w\" sizes=\"(max-width: 250px) 100vw, 250px\">\u003cfigcaption class=\"wp-caption-text\">By the numbers. \u003ccite>(KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Being an artist and entrepreneur in Oakland takes a lot of networking, and multitasking childcare and events is something Kelley, a single mom, has become quite good at in recent years. She’s a photographer with her own practice (most recently, her work was featured in the Berkeley Art Museum and Pacific Film Archive’s \u003ca href=\"https://www.kqed.org/arts/13819924\" target=\"_blank\" rel=\"noopener\">\u003cem>Way Bay\u003c/em> exhibition\u003c/a>). But much of her other, community-based projects are rooted in the “it takes a village” mentality — not just toward raising Ameenah, but in her entire business approach.\u003c/p>\n\u003cp>Kelley is the co-founder of \u003ca href=\"http://www.thehouseofmalico.com\" target=\"_blank\" rel=\"noopener\">House of Malico\u003c/a>, an activist-oriented creative agency that presents events like the recent \u003ca href=\"https://bampfa.org/event/house-malico-spectrum-summit\" target=\"_blank\" rel=\"noopener\">Spectrum Summit\u003c/a>, a community discussion on black mental health that took place in March at BAMPFA. House of Malico’s work spans many disciplines, but its core principles hinge on creating paths to financial solvency for artists and alternative wellness practitioners, whether through events, marketing, other creative services, or workshops.\u003c/p>\n\u003cp>“The House of Malico exists to create jobs for women of color,” says Kelley, “And more specifically, to give these creatives market-rate or above-market-rate opportunities to fulfill their passions — not the starving artist idea.”\u003c/p>\n\u003cfigure id=\"attachment_13828283\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828283\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-800x534.jpg\" alt=\"Sasha Kelley co-founded House of Malico to create paths to financial solvency for artists and women of color in the Bay Area.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley co-founded House of Malico to create paths to financial solvency for artists and women of color in the Bay Area. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that goal has come with its challenges for Kelley, who makes roughly $18,000 a year through a combination of grants, freelance work, and government assistance. Getting by on that income, let alone with a child, might seem impossible at a time when living expenses are skyrocketing across the Bay Area. But Kelley is incredibly resourceful, and taps into a like-minded community of artists to make her life manageable as she works towards creative goals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I see my long-term goal: I’m working towards my retrospective show, and working from when I’m 75, chillin’ on the beach and drinking lemonade,” she says. “I see the bigger vision. And I also am very adamant about working for myself and taking the sacrifice.”\u003c/p>\n\u003ch3>‘We have to be incredibly resourceful. There’s not really any other way.’\u003c/h3>\n\u003cp>Those sacrifices come in many forms. Kelley and Ameenah live in Pittsburg with Kelley’s grandmother (where rent is $800), but nearly everything else in their lives takes place in Oakland, the heart of the East Bay’s art scene. Pittsburg is a two-and-a-half hour commute from Ameenah’s private preschool in the Oakland hills, which would ordinarily would cost the family $1,200 a month, but is free thanks to a scholarship.\u003c/p>\n\u003cp>After taking Ameenah to school, Kelley then commutes another hour by bus to her job at \u003ca href=\"http://alenamuseum.com/\" target=\"_blank\" rel=\"noopener\">Alena Museum\u003c/a>, an art gallery and event space in West Oakland. The mother and daughter often couch-surf with friends during the week to save time on the commute.\u003c/p>\n\u003cfigure id=\"attachment_13828284\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828284\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-800x534.jpg\" alt=\"Sasha Kelley with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_6-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An added challenge is that Ameenah’s dad, with whom Kelley typically co-parents, recently moved to L.A. to pursue a music career, meaning that Kelley has their three-year-old full time. As another money-saving move, Kelley recently began doing photography for one of her friends, another young mom, in exchange for free childcare.\u003c/p>\n\u003cp>“It’s actually been really good,” she says. “I’m able to get the time that I need to sleep and do whatever adult things I need in that time. And it’s also propelling my photography practice.”\u003c/p>\n\u003cp>Kelley relies on work-trades to afford certain necessities, one of which is her art studio at Alena Museum. As the executive assistant, she organizes events, writes grants, and takes care of strategic planning, cleaning, and whatever else needs to get done in exchange for her studio space, which would otherwise cost $250 a month. (She does, however, spend $150 a month on film for her camera.)\u003c/p>\n\u003cfigure id=\"attachment_13828282\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828282\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-800x534.jpg\" alt=\"Sasha Kelley working at Alena Museum in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_9-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley working at Alena Museum in West Oakland. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Government assistance helps provide some stability, but Kelley is actively working towards the goal of getting off welfare, which currently provides her with $580 a month in cash assistance and $300 in food stamps. She has an upcoming meeting with a social worker from Contra Costa County to examine ways to make House of Malico more profitable.\u003c/p>\n\u003cp>“For these last few years of me figuring it out, things have been really tight. But it’s starting to feel like it’s paying off,” she says. “Things are getting more clear with House of Malico and business, things are starting to align, people are starting to reach out to us.”\u003c/p>\n\u003cp>While many young artists in the Bay Area have parents helping pay their rent, relying on family for financial support isn’t an option for Kelley. “[Ameenah’s dad and I] both come from families that were heavily impacted by the crack epidemic in different ways,” she says. “It’s just a blessing that we are sane and following our passions, and within that, we have to be incredibly resourceful. There’s not really any other way.”\u003c/p>\n\u003ch3>Cultivating sustainable sources of income\u003c/h3>\n\u003cp>Most of Kelley’s income-generating gigs come through the House of Malico. She received a $2,500 stipend from the San Francisco Foundation for House of Malico’s latest project, \u003ca href=\"http://www.thehouseofmalico.com/elements-retreat\" target=\"_blank\" rel=\"noopener\">Elements\u003c/a>, a retreat for artists and activists of color to strategize for social justice and practice self-care. House of Malico also does marketing for local small-business clients like \u003ca href=\"https://www.sumistouch.com/\" target=\"_blank\" rel=\"noopener\">Sumi’s Touch\u003c/a>, Oakland activist Sumayyah Franklin’s midwifery business. And freelance photography gigs also come in occasionally. Kelley estimates that about $12,500 of her annual earnings come from art-related work.\u003c/p>\n\u003cfigure id=\"attachment_13828281\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828281\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-800x534.jpg\" alt=\"Sasha Kelley at Alena Museum in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_8.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley at Alena Museum in West Oakland. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Contract gigs for House of Malico tend to come in spurts, so Kelley has to budget carefully to prepare for dry periods between jobs.\u003c/p>\n\u003cp>“Last year we got a good-sized contract with \u003ca href=\"http://eastoaklandbhc.org/\" target=\"_blank\" rel=\"noopener\">East Oakland Building Healthy Communities\u003c/a>. So I was like, ‘Dope! I have my goal monthly income,’” says Kelley. “But usually a lot of the clients we have might be for three to four months, so just figuring out that gap of like, our needs are met — and now we don’t have any clients, so what does that look like? I’m teaching myself how to save and getting a little more financial literacy so that when those gaps come, I’m not shit out of luck.”\u003c/p>\n\u003cp>Kelley has been trying to move to Oakland instead of crashing with friends during the week, but her housing search hasn’t been fruitful; it turns out most single people living with roommates don’t want small children around. So alongside three other single moms, she’s looking to start something called Mom House, a co-op for fellow single-mom artists who share childcare and domestic duties so that they can have time to work on their various crafts — and eat and shower in peace.\u003c/p>\n\u003cfigure id=\"attachment_13828287\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828287\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg\" alt=\"Sasha Kelley, pictured in West Oakland with daughter Ameenah.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-960x641.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/KQED_Sasha_Kelley_5-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sasha Kelley, pictured in West Oakland with daughter Ameenah. \u003ccite>(Graham Holoch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kelley says she’s considered taking a more traditional full-time job, but she’s worried about how being an overworked, stretched-thin single mother would impact her relationship with her daughter.\u003c/p>\n\u003cp>“I did that growing up with my mom, and two decades later, we’re still healing our relationship from the time we missed when she was working to provide a house and food for us,” she says, narrowing her eyes with determination. “I don’t want that. I want to be present for Ameenah.”\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>For more stories in ‘The Hustle,’ \u003ca href=\"https://www.kqed.org/arts/tag/the-hustle\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Artists, we want to know: what’s your hustle? Take our Bay Area artist survey \u003ca href=\"https://www.kqed.org/arts/13827433/bay-area-artists-we-want-to-know-whats-your-hustle\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When black and brown teenagers experimenting with turntables invented hip-hop at house parties in the Bronx, they no idea they were creating the foundation for what would become the single biggest cultural phenomenon 30 years later. They were simply having fun.\u003c/p>\n\u003cp>In 2018, of course, hip-hop is a billion-dollar industry, but its underground is still very much alive at parties, after-school centers, parks, and protests. It gives voice to struggle and celebrates resilience; it empowers people of all walks of life to speak their truth and be at their best.\u003c/p>\n\u003cp>So it’s an interesting proposition that the Oakland Museum of California has decided to enshrine hip-hop within its white walls. Once a movement enters museums, the concern goes, its progression is stifled. Nonetheless, the new show \u003cem>Respect: Hip-Hop Style & Wisdom\u003c/em>, opening March 24 and running through Aug. 12, treats hip-hop in a fun, engaging way, not as a relic of the past but as a living, breathing art form that’s still evolving.\u003c/p>\n\u003cp>[gallery type=\"slideshow\" size=\"full\" ids=\"13827918,13827889,13827917,13827916,13827915,13827919,13827914\"]\u003c/p>\n\u003cp>The sprawling exhibit gives insight into how hip-hop culture came to be through its four elements — graffiti, DJing, b-boying, and rapping. It brings that early growth to life through photos by Martha Cooper, one of the first outsiders to document New York’s nascent graffiti scene; early party flyers featuring DJ Kool Herc and Grandmaster Flash; \u003cem>Soul Train\u003c/em> videos; custom jackets; Grandmaster Flash’s original Technics turntables. Beyond mere artifacts, the show does an admirable job contextualizing this birth of hip-hop in U.S. history, citing the Black Power movement, the social chaos of the Reagan administration, and Afrofuturism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in attempting to be comprehensive, \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> leaves some crucial details overlooked.\u003c/p>\n\u003cp>The show spends quite a bit of time on New York’s old school and California’s underground hip-hop culture, but it does little to track hip-hop’s evolution from youth counterculture to massive commercial phenomenon. Surprisingly, there’s no mention of figures like Russell Simmons, Rick Rubin, Jay-Z, Lil Wayne, Dr. Dre, Kanye West, or Pharrell — the ones who helped shape it into a mega-industry. (In its place, the exhibition highlights the many ways hip-hop culture has extended \u003cem>beyond\u003c/em> the music — a tapestry by Kehinde Wiley, Obama’s portrait artist, and stylish pieces by Moschino attest to the ways hip-hop as permeated high fashion and fine art.)\u003c/p>\n\u003cp>[gallery ids=\"13827896,13827897,13827898,13827899,13827900,13827895\"]\u003c/p>\n\u003cp>One would probably need an entire hip-hop museum to do justice to the genres’s distinctive regional movements, but the lack of individual attention to influential scenes like Atlanta, Houston, Chicago, and Memphis flatten the genre to California and New York — a very 1990s view of rap music. Even within California, the show hardly makes mention of the hyphy movement, other than videos by E-40 and Lil B playing in the interactive activity room, filled with turntables and sample pads. Nor does it delve into mob music, g-funk, or the Bay Area’s conscious hip-hop movement. Instead, elements of each are presented like a melting pot, and for a major exhibition in Oakland, the one-size-fits-all presentation of such a varied scene left nuance to be desired.\u003c/p>\n\u003cp>Nonetheless, a room dedicated to the Bay Area contains unexpected, special homages, such as graffiti writer Mike “Dream” Francisco’s last work: an altar in homage to two departed friends. A short film by Yak, a mainstay of the turf battle scene, goes behind the scenes of “\u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">RIP Rich D\u003c/a>,” the gorgeous YouTube video of four turf dancers in the rain on International Blvd. that went viral and put the Bay Area street dance on the global map. The ways they speak about dancing as a way to communicate their stories is incredibly moving.\u003c/p>\n\u003cfigure id=\"attachment_13827891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg\" alt=\"Traci Bartlow's collages of her original concert photos from the '90s. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s collages of her original concert photos from the ’90s. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition also contains priceless relics, like graffiti writer Refa One’s personal photo albums of tags from the ’80s, including Dream’s TDK Crew. Traci Bartlow’s collages, created around 2000, feature her original backstage photos from the ’90s of underground icons and all-time greats alike, including Hieroglyphics’ Tajai, E-40, Boots Riley, Pam the Funkstress, Lauryn Hill, Aaliyah, and Quincy Jones. And Eric Arnold’s Bay Area hip-hop atlas offers invaluable insights into key underground spots that shaped the regional scene over the years: the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, the Eastmont Mall where the sideshow was born, MC Hammer’s childhood home, and many others.\u003c/p>\n\u003cp>Bringing this history into the present day is a wall of photos by young photographer Amanda Sade of hip-hop culture in Oakland. Sade features emerging artists like Siri and Bruh From Last Night, and several others regularly seen on today’s scene, making the show feel personal to those acquainted with the culture’s youthful vanguard.\u003c/p>\n\u003cp>\u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> is visually engaging, too. A pearly white lowrider anchors the main exhibition hall; its owner came to the press preview and hit the switches, making it bounce. Several people mistook Barry McGee’s animatronic graffiti writer for a real person tagging the museum wall; he’s perched atop a mock stack of giant speakers. Colorful photos of artists, graffiti murals, and flashy pieces of hip-hop fashion make the exhibit pop.\u003c/p>\n\u003cfigure id=\"attachment_13827892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg\" alt=\"Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chief curator of \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em>, René de Guzman, characterizes the show as a large team effort, and indeed, the Oakland Museum has done an admirable job of collaborating with the local community instead of speaking for them. Its upcoming roster of events associated with the exhibit include DJ nights, cyphers, panels, and more, inviting in the real-life hip-hop culture already flowing outside of the museum doors.\u003c/p>\n\u003cp>Hip-hop getting a museum show doesn’t mean that the genre is old and on the outs; more so, it pays homage to its wide-ranging cultural impact — which shows no signs of slowing down.\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>‘Respect: Hip-hop Style & Wisdom’ is on view at the Oakland Museum of California through Aug. 12. More info \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When black and brown teenagers experimenting with turntables invented hip-hop at house parties in the Bronx, they no idea they were creating the foundation for what would become the single biggest cultural phenomenon 30 years later. They were simply having fun.\u003c/p>\n\u003cp>In 2018, of course, hip-hop is a billion-dollar industry, but its underground is still very much alive at parties, after-school centers, parks, and protests. It gives voice to struggle and celebrates resilience; it empowers people of all walks of life to speak their truth and be at their best.\u003c/p>\n\u003cp>So it’s an interesting proposition that the Oakland Museum of California has decided to enshrine hip-hop within its white walls. Once a movement enters museums, the concern goes, its progression is stifled. Nonetheless, the new show \u003cem>Respect: Hip-Hop Style & Wisdom\u003c/em>, opening March 24 and running through Aug. 12, treats hip-hop in a fun, engaging way, not as a relic of the past but as a living, breathing art form that’s still evolving.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The sprawling exhibit gives insight into how hip-hop culture came to be through its four elements — graffiti, DJing, b-boying, and rapping. It brings that early growth to life through photos by Martha Cooper, one of the first outsiders to document New York’s nascent graffiti scene; early party flyers featuring DJ Kool Herc and Grandmaster Flash; \u003cem>Soul Train\u003c/em> videos; custom jackets; Grandmaster Flash’s original Technics turntables. Beyond mere artifacts, the show does an admirable job contextualizing this birth of hip-hop in U.S. history, citing the Black Power movement, the social chaos of the Reagan administration, and Afrofuturism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in attempting to be comprehensive, \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> leaves some crucial details overlooked.\u003c/p>\n\u003cp>The show spends quite a bit of time on New York’s old school and California’s underground hip-hop culture, but it does little to track hip-hop’s evolution from youth counterculture to massive commercial phenomenon. Surprisingly, there’s no mention of figures like Russell Simmons, Rick Rubin, Jay-Z, Lil Wayne, Dr. Dre, Kanye West, or Pharrell — the ones who helped shape it into a mega-industry. (In its place, the exhibition highlights the many ways hip-hop culture has extended \u003cem>beyond\u003c/em> the music — a tapestry by Kehinde Wiley, Obama’s portrait artist, and stylish pieces by Moschino attest to the ways hip-hop as permeated high fashion and fine art.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One would probably need an entire hip-hop museum to do justice to the genres’s distinctive regional movements, but the lack of individual attention to influential scenes like Atlanta, Houston, Chicago, and Memphis flatten the genre to California and New York — a very 1990s view of rap music. Even within California, the show hardly makes mention of the hyphy movement, other than videos by E-40 and Lil B playing in the interactive activity room, filled with turntables and sample pads. Nor does it delve into mob music, g-funk, or the Bay Area’s conscious hip-hop movement. Instead, elements of each are presented like a melting pot, and for a major exhibition in Oakland, the one-size-fits-all presentation of such a varied scene left nuance to be desired.\u003c/p>\n\u003cp>Nonetheless, a room dedicated to the Bay Area contains unexpected, special homages, such as graffiti writer Mike “Dream” Francisco’s last work: an altar in homage to two departed friends. A short film by Yak, a mainstay of the turf battle scene, goes behind the scenes of “\u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">RIP Rich D\u003c/a>,” the gorgeous YouTube video of four turf dancers in the rain on International Blvd. that went viral and put the Bay Area street dance on the global map. The ways they speak about dancing as a way to communicate their stories is incredibly moving.\u003c/p>\n\u003cfigure id=\"attachment_13827891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827891\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg\" alt=\"Traci Bartlow's collages of her original concert photos from the '90s. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0903-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Traci Bartlow’s collages of her original concert photos from the ’90s. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The exhibition also contains priceless relics, like graffiti writer Refa One’s personal photo albums of tags from the ’80s, including Dream’s TDK Crew. Traci Bartlow’s collages, created around 2000, feature her original backstage photos from the ’90s of underground icons and all-time greats alike, including Hieroglyphics’ Tajai, E-40, Boots Riley, Pam the Funkstress, Lauryn Hill, Aaliyah, and Quincy Jones. And Eric Arnold’s Bay Area hip-hop atlas offers invaluable insights into key underground spots that shaped the regional scene over the years: the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, the Eastmont Mall where the sideshow was born, MC Hammer’s childhood home, and many others.\u003c/p>\n\u003cp>Bringing this history into the present day is a wall of photos by young photographer Amanda Sade of hip-hop culture in Oakland. Sade features emerging artists like Siri and Bruh From Last Night, and several others regularly seen on today’s scene, making the show feel personal to those acquainted with the culture’s youthful vanguard.\u003c/p>\n\u003cp>\u003cem>Respect: Hip-hop Style & Wisdom\u003c/em> is visually engaging, too. A pearly white lowrider anchors the main exhibition hall; its owner came to the press preview and hit the switches, making it bounce. Several people mistook Barry McGee’s animatronic graffiti writer for a real person tagging the museum wall; he’s perched atop a mock stack of giant speakers. Colorful photos of artists, graffiti murals, and flashy pieces of hip-hop fashion make the exhibit pop.\u003c/p>\n\u003cfigure id=\"attachment_13827892\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827892\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg\" alt=\"Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/DSC_0888-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland photographer Brittsense celebrates the art of black hair in this 2015 series shot in Brownsville, Brooklyn. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The chief curator of \u003cem>Respect: Hip-hop Style & Wisdom\u003c/em>, René de Guzman, characterizes the show as a large team effort, and indeed, the Oakland Museum has done an admirable job of collaborating with the local community instead of speaking for them. Its upcoming roster of events associated with the exhibit include DJ nights, cyphers, panels, and more, inviting in the real-life hip-hop culture already flowing outside of the museum doors.\u003c/p>\n\u003cp>Hip-hop getting a museum show doesn’t mean that the genre is old and on the outs; more so, it pays homage to its wide-ranging cultural impact — which shows no signs of slowing down.\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>‘Respect: Hip-hop Style & Wisdom’ is on view at the Oakland Museum of California through Aug. 12. More info \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland’s city council passed an ordinance this week that bars marijuana companies from getting permits to operate at a facility if they are evicting tenants to do so.\u003c/p>\n\u003cp>“There was broad support for this,” says Kelley Kahn, the City of Oakland’s policy director for arts and development.\u003c/p>\n\u003cp>The measure was inspired in part by tenants in Oakland’s live-work warehouses. One example is The Cannery, an industrial building that’s home to around 30 artists.\u003c/p>\n\u003cp>A Colorado pot company, Green Sage, recently purchased the building and threatened the tenants with eviction.\u003c/p>\n\u003cp>Longtime Cannery resident Alistair Monroe welcomes the city’s support.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It is a step in the right direction to be heard,” Monroe says.\u003c/p>\n\u003cp>But Monroe says the new law doesn’t prevent Green Sage from selling the building to a partner company. That company could then potentially use state law (e.g. the Ellis Act) to get residents out.\u003c/p>\n\u003cp>“So we’re not fully protected,” Monroe says.\u003c/p>\n\u003cp>Kahn says although the city cannot prevent a landlord from using the Ellis Act to evict tenants, the amendments to the city’s cannabis ordinance have been put in place to make doing so an unappealing commercial prospect.\u003c/p>\n\u003cp>“If another operation bought a building, they would not be able to pull a cannabis permit for a space that has live-work residents,” Kahn says. “What we’ve done is taken away the economic incentive to do that.”\u003c/p>\n\u003cp>Monroe says he hopes to know more about The Cannery’s fate within the next two weeks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "A new city ordinance aimed at keeping cannabis operations from displacing warehouse residents leaves some advocates still concerned. \r\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland’s city council passed an ordinance this week that bars marijuana companies from getting permits to operate at a facility if they are evicting tenants to do so.\u003c/p>\n\u003cp>“There was broad support for this,” says Kelley Kahn, the City of Oakland’s policy director for arts and development.\u003c/p>\n\u003cp>The measure was inspired in part by tenants in Oakland’s live-work warehouses. One example is The Cannery, an industrial building that’s home to around 30 artists.\u003c/p>\n\u003cp>A Colorado pot company, Green Sage, recently purchased the building and threatened the tenants with eviction.\u003c/p>\n\u003cp>Longtime Cannery resident Alistair Monroe welcomes the city’s support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It is a step in the right direction to be heard,” Monroe says.\u003c/p>\n\u003cp>But Monroe says the new law doesn’t prevent Green Sage from selling the building to a partner company. That company could then potentially use state law (e.g. the Ellis Act) to get residents out.\u003c/p>\n\u003cp>“So we’re not fully protected,” Monroe says.\u003c/p>\n\u003cp>Kahn says although the city cannot prevent a landlord from using the Ellis Act to evict tenants, the amendments to the city’s cannabis ordinance have been put in place to make doing so an unappealing commercial prospect.\u003c/p>\n\u003cp>“If another operation bought a building, they would not be able to pull a cannabis permit for a space that has live-work residents,” Kahn says. “What we’ve done is taken away the economic incentive to do that.”\u003c/p>\n\u003cp>Monroe says he hopes to know more about The Cannery’s fate within the next two weeks.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After spending almost a year in preparations, on Tuesday the City of Oakland released the first draft of its cultural plan — its first in 30 years. \u003c/p>\n\u003cp>The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070021.pdf\" rel=\"noopener\" target=\"_blank\">94-page plan\u003c/a>, created by the city’s \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/index.htm\" rel=\"noopener\" target=\"_blank\">Office of Cultural Affairs\u003c/a>, sets an agenda for how the city plans to support its local arts scene. The tagline for the plan is “Equity is the Driving Force, Culture is the Frame, and Belonging is the Goal,” and much of what it focuses on is ensuring that local government “lifts up the role of culture in building a just and equitable city,” according to Roberto Bedoya, Oakland’s director of cultural affairs.\u003c/p>\n\u003cp>[contextly_sidebar id=”s41h611RP2CQDh5f7JiDHi7vwfpVAqZ2″]\u003c/p>\n\u003cp>“[The plan] is a narrative that offers up a different lens and a different approach to understanding our city and how an alignment of culture and equity is required for Oaklanders to realize their potential,” Bedoya writes in the \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070020.pdf\" rel=\"noopener\" target=\"_blank\">plan’s introduction\u003c/a>.\u003c/p>\n\u003cp>The plan lays out the first two steps to resetting and developing the city’s strategies for supporting its local artists. The city’s last cultural affairs plan was adopted in 1988, and the author of the new plan, arts consultant Vanessa Whang, points out that the city is much different than it was 30 years ago. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“On the face of it, that seems like reason enough to take a fresh look at what cultural life in Oakland looks like now — who makes it what it is and what relationship the city should have to it,” Whang wrote in the report.\u003c/p>\n\u003cp>\u003ca href=\"https://oaklandnorth.net/2017/09/19/local-artists-start-conversation-about-belonging-in-oakland/\" rel=\"noopener\" target=\"_blank\">From the start\u003c/a>, the goal of the plan was to find ways to support artists and help them from being displaced. In researching the city’s population for the study, Whang found that it grew from 370,000 residents to over 400,000 residents over 30 years, and the current real estate market is “overcooked,” causing many issues for working artists and other residents.\u003c/p>\n\u003cfigure id=\"attachment_11984507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/roberto_final_sm-800x450.jpg\" alt=\"Roberto Bedoya is the incoming Cultural Affairs Manager for the City of Oakland\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11984507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roberto Bedoya is the incoming Cultural Affairs Manager for the City of Oakland. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the decade from 2005 to 2015, jobs and the population in Oakland grew by the tens of thousands, but fewer than 1,000 housing units and effectively no commercial space was built,” Whang wrote. “Growing income insecurity and a host of other factors have driven people into tent camps across the flatlands of Oakland, with Blacks being significantly overrepresented on the streets based on their proportion of the population.”\u003c/p>\n\u003cp>Better representing the city’s diversity and ensuring equity are other major goals for the department. Despite census data showing Oakland’s black population decreasing by 25 percent over 25 years, it still makes up a relatively large percentage of the city. And over that same period of time, ethnic groups in the city — mainly Hispanic — have grown in size. Yet that diversity is not touted or supported as much as it could be by the city, according to the report. \u003c/p>\n\u003cp>“There are disparities among people, neighborhoods, and institutions that keep Oakland from being a fully fair and just city — particularly those underlain by race,” Whang wrote. “To achieve equity, not only must disparities in access to and allocation of resources be addressed, but also the barriers built into both the physical and policy landscapes of Oakland.”\u003c/p>\n\u003cp>Oakland’s cultural affairs department plans to attack these issues with its resources, which includes funding. Bedoya’s department distributes $900,000 in grants to local organizations annually and has a $1 million annual budget for public art projects. With a new focus on equity, the department plans to disperse these funds to a more diverse population of artists in terms of both ethnicity and income.\u003c/p>\n\u003cp>Also, with this new outlook, the department hopes to use its clout to push the city to support and protect its diverse population. Thorough advocacy, the department hopes to ensure that things like performance spaces, both public and private, are preserved and used to project the city’s mix of cultures. \u003c/p>\n\u003cp>“Because all aspects of civic life are infused with culture, having a shared understanding of it throughout the halls of the City is necessary for achieving equitable well-being,” Whang wrote. “Cultural Affairs’ new role will be to promote that shared understanding and to help inform departmental strategies with principles of cultural equity.”\u003c/p>\n\u003cp>The plan isn’t set in stone yet, as the department is still taking input from the community. After holding 14 public meetings in preparation for the draft plan, there will be more, including one on March 27 at the Pro Arts Gallery and on April 7 at the Dimond Branch Library. For more information, visit the \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" rel=\"noopener\" target=\"_blank\">department’s website\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To read the draft plan, \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070021.pdf\" rel=\"noopener\" target=\"_blank\">click here.\u003c/a> \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After spending almost a year in preparations, on Tuesday the City of Oakland released the first draft of its cultural plan — its first in 30 years. \u003c/p>\n\u003cp>The \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070021.pdf\" rel=\"noopener\" target=\"_blank\">94-page plan\u003c/a>, created by the city’s \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/index.htm\" rel=\"noopener\" target=\"_blank\">Office of Cultural Affairs\u003c/a>, sets an agenda for how the city plans to support its local arts scene. The tagline for the plan is “Equity is the Driving Force, Culture is the Frame, and Belonging is the Goal,” and much of what it focuses on is ensuring that local government “lifts up the role of culture in building a just and equitable city,” according to Roberto Bedoya, Oakland’s director of cultural affairs.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[The plan] is a narrative that offers up a different lens and a different approach to understanding our city and how an alignment of culture and equity is required for Oaklanders to realize their potential,” Bedoya writes in the \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070020.pdf\" rel=\"noopener\" target=\"_blank\">plan’s introduction\u003c/a>.\u003c/p>\n\u003cp>The plan lays out the first two steps to resetting and developing the city’s strategies for supporting its local artists. The city’s last cultural affairs plan was adopted in 1988, and the author of the new plan, arts consultant Vanessa Whang, points out that the city is much different than it was 30 years ago. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“On the face of it, that seems like reason enough to take a fresh look at what cultural life in Oakland looks like now — who makes it what it is and what relationship the city should have to it,” Whang wrote in the report.\u003c/p>\n\u003cp>\u003ca href=\"https://oaklandnorth.net/2017/09/19/local-artists-start-conversation-about-belonging-in-oakland/\" rel=\"noopener\" target=\"_blank\">From the start\u003c/a>, the goal of the plan was to find ways to support artists and help them from being displaced. In researching the city’s population for the study, Whang found that it grew from 370,000 residents to over 400,000 residents over 30 years, and the current real estate market is “overcooked,” causing many issues for working artists and other residents.\u003c/p>\n\u003cfigure id=\"attachment_11984507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/08/roberto_final_sm-800x450.jpg\" alt=\"Roberto Bedoya is the incoming Cultural Affairs Manager for the City of Oakland\" width=\"800\" height=\"450\" class=\"size-medium wp-image-11984507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/08/roberto_final_sm.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roberto Bedoya is the incoming Cultural Affairs Manager for the City of Oakland. \u003ccite>(Karen Boyd/City of Oakland)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“In the decade from 2005 to 2015, jobs and the population in Oakland grew by the tens of thousands, but fewer than 1,000 housing units and effectively no commercial space was built,” Whang wrote. “Growing income insecurity and a host of other factors have driven people into tent camps across the flatlands of Oakland, with Blacks being significantly overrepresented on the streets based on their proportion of the population.”\u003c/p>\n\u003cp>Better representing the city’s diversity and ensuring equity are other major goals for the department. Despite census data showing Oakland’s black population decreasing by 25 percent over 25 years, it still makes up a relatively large percentage of the city. And over that same period of time, ethnic groups in the city — mainly Hispanic — have grown in size. Yet that diversity is not touted or supported as much as it could be by the city, according to the report. \u003c/p>\n\u003cp>“There are disparities among people, neighborhoods, and institutions that keep Oakland from being a fully fair and just city — particularly those underlain by race,” Whang wrote. “To achieve equity, not only must disparities in access to and allocation of resources be addressed, but also the barriers built into both the physical and policy landscapes of Oakland.”\u003c/p>\n\u003cp>Oakland’s cultural affairs department plans to attack these issues with its resources, which includes funding. Bedoya’s department distributes $900,000 in grants to local organizations annually and has a $1 million annual budget for public art projects. With a new focus on equity, the department plans to disperse these funds to a more diverse population of artists in terms of both ethnicity and income.\u003c/p>\n\u003cp>Also, with this new outlook, the department hopes to use its clout to push the city to support and protect its diverse population. Thorough advocacy, the department hopes to ensure that things like performance spaces, both public and private, are preserved and used to project the city’s mix of cultures. \u003c/p>\n\u003cp>“Because all aspects of civic life are infused with culture, having a shared understanding of it throughout the halls of the City is necessary for achieving equitable well-being,” Whang wrote. “Cultural Affairs’ new role will be to promote that shared understanding and to help inform departmental strategies with principles of cultural equity.”\u003c/p>\n\u003cp>The plan isn’t set in stone yet, as the department is still taking input from the community. After holding 14 public meetings in preparation for the draft plan, there will be more, including one on March 27 at the Pro Arts Gallery and on April 7 at the Dimond Branch Library. For more information, visit the \u003ca href=\"http://www2.oaklandnet.com/government/o/CityAdministration/d/economic-workforce-development/o/cultural-affairs/cultural-plan/index.htm\" rel=\"noopener\" target=\"_blank\">department’s website\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To read the draft plan, \u003ca href=\"http://www2.oaklandnet.com/oakca1/groups/ceda/documents/report/oak070021.pdf\" rel=\"noopener\" target=\"_blank\">click here.\u003c/a> \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Telling the Human Stories Behind Oakland's Homicide Counts",
"headTitle": "Telling the Human Stories Behind Oakland’s Homicide Counts | KQED",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou know what kills me? When there’s a homicide, and the news writes a one-paragraph story. The sentences about rewards for information leading to an arrest and how to contact law enforcement are longer than any details about the person who just lost their life. Come on, man.\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>Well, here’s a solution: use this thing called journalism to actually tell peoples’ stories.\u003c/p>\n\u003cp>Last year I worked with the \u003ca href=\"http://www.snapjudgment.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Snap Judgment\u003c/a> team on a feature called \u003cem>\u003ca href=\"http://oaklandstory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Counted: An Oakland Story\u003c/a>\u003c/em>, which documents the lives of the 77 people who were killed in Oakland in 2017. The final audio piece was published earlier this month.\u003c/p>\n\u003cp>It tells the story of the death of musician David Deporis, who was dragged by car as he fought to keep his laptop which held his music files. The story of Anibal Andres Ramirez, who was the youngest person killed last year. And the story of Jason Coleman, who was homeless at the time of his death — well, not completely homeless. He lived in a literal hole in the wall, on the side of a freeway.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s also mention of the story of Devonte Thomas, the first homicide of the calendar year.\u003c/p>\n\u003cp>Devonte was a former student of mine at Oakland Tech. He was also a new dad. Devonte loved cars, kicks, and cracking jokes. He was just another kid from Oakland. Another kid who met death way too early. Another kid who had a story the world should know.\u003c/p>\n\u003cfigure id=\"attachment_13827372\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827372\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LilGoo.Believe.jpg\" alt=\"Lil Goo and Vari 4 Hun's 'Believe It or Not,' with Devonte Thomas on the cover.\" width=\"630\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-150x150.jpg 150w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Lil Goo and Vari 4 Hun’s ‘Believe It or Not,’ with Devonte Thomas on the cover. \u003ccite>(Dope Era)\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\">L\u003c/span>ate last year, I stepped inside the former location of Mistah F.A.B.’s Dope Era clothing store in North Oakland, and spoke to two rappers who go by Lil Goo and Vari 4 Hun. In the middle of all the colorful clothing and hats, the two were seated, holding a CD with the face of Devonte on the cover.\u003c/p>\n\u003cp>It was their first combined album; something they wanted to release after the death of Devonte (who they also refer to as Vonte or Tay), to honor him.\u003c/p>\n\u003cp>In Oakland, you’ll see a number of different ways people pay homage to loved ones who’ve lost their lives. Some people wear string necklaces that hold laminated pictures of the deceased. Some people wear shirts or hoodies. Some folks get tattoos. Others put obituaries in the dashboard. And some carry their fallen friends’ legacies on by way of making art — especially music.\u003c/p>\n\u003caside class=\"pullquote alignright\">Devonte may be gone, but his story remains. It’s bigger than a paragraph in the local newspaper. It’s more than just a number in the homicide count.\u003c/aside>\n\u003cp>Using art to deal with death is not only a cathartic outlet, it benefits the larger community as well. “I know a lot of people will see the tape and be like, ‘OK, this Vonte,’ they know he was a real dude, so they know it ain’t nothing but real on this tape,” Lil Goo told me.\u003c/p>\n\u003cp>He continued. “There were different ways we could’ve handled it, ya know?” To which Vari 4 Hun said, “Way different ways,” almost in ad-lib form.\u003c/p>\n\u003cp>“I feel like this was the best way,” Lil Goo said. “Throwing my boy on the front of our cover, on our tape, handle it like that. Handle it the right way. By getting the message out, ya know?”\u003c/p>\n\u003cp>Mistah F.A.B., internationally known MC and owner of Dope Era, agreed. Making art to benefit the larger community works, “‘cause homicides aren’t going anywhere, so it’s on the community to do something about it,” he told me.\u003c/p>\n\u003cp>Mistah F.A.B. expressly said how proud he was of the young men, using art to express themselves as opposed to alternatives. “To say man, ‘We’ve been BS’ing. We’ve been playing, let’s really put this music out.’ And, ‘Since us putting it out for us wasn’t enough, let’s put it out for Tay,’” F.A.B. told me, noting that the death of friends and family has always become a motivating factor in his pursuit of his dreams as an artist.\u003c/p>\n\u003cp>Once someone is memorialized through art, F.A.B. noted, there’s no limit to who it can reach. “His mother, his father, will be able to see their son on an album cover that represents something positive,” he said. “His son, when he gets older, he can be like, ‘Man, they kept it lit for my daddy.’”\u003c/p>\n\u003cfigure id=\"attachment_13827389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/counted-800x406.jpg\" alt=\"Listen to Snap Judgment's 'Counted: An Oakland Story' above.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-1020x517.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-960x487.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-240x122.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-375x190.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-520x264.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Listen to Snap Judgment’s ‘Counted: An Oakland Story’ above.\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\">K\u003c/span>eeping it lit, or keeping someone’s legacy alive, is what matters. That’s what the community will appreciate, that’s what the family will benefit from and ultimately, one day, that’s what his son will cherish.\u003c/p>\n\u003cp>“That day, I saw (Devonte) on the ground, man…” said Lil Goo, reminiscing on his childhood friend. “The last time I seen him before that was like, he was opening presents for his son. And that was the last time. I still got all the videos, I look at the videos every day. Just seeing, like, that was the type of guy he was. Just seeing, and that was one of the last times I seen him, like breathing. And he was like, opening presents for his son on Christmas.”\u003c/p>\n\u003cp>Less than two weeks later, Devonte would be gone. But his story remains. It’s bigger than a paragraph in the local newspaper. It’s more than just a number in the homicide count.\u003c/p>\n\u003cp>It’s the story of a young man who lived in Oakland, and who died way too soon. But the people who loved him made sure to keep his story alive.\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": "There were 77 homicides last year in The Town. Devonte Thomas was one of them — and his friends are making sure he's not forgotten.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou know what kills me? When there’s a homicide, and the news writes a one-paragraph story. The sentences about rewards for information leading to an arrest and how to contact law enforcement are longer than any details about the person who just lost their life. Come on, man.\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>Well, here’s a solution: use this thing called journalism to actually tell peoples’ stories.\u003c/p>\n\u003cp>Last year I worked with the \u003ca href=\"http://www.snapjudgment.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Snap Judgment\u003c/a> team on a feature called \u003cem>\u003ca href=\"http://oaklandstory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Counted: An Oakland Story\u003c/a>\u003c/em>, which documents the lives of the 77 people who were killed in Oakland in 2017. The final audio piece was published earlier this month.\u003c/p>\n\u003cp>It tells the story of the death of musician David Deporis, who was dragged by car as he fought to keep his laptop which held his music files. The story of Anibal Andres Ramirez, who was the youngest person killed last year. And the story of Jason Coleman, who was homeless at the time of his death — well, not completely homeless. He lived in a literal hole in the wall, on the side of a freeway.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s also mention of the story of Devonte Thomas, the first homicide of the calendar year.\u003c/p>\n\u003cp>Devonte was a former student of mine at Oakland Tech. He was also a new dad. Devonte loved cars, kicks, and cracking jokes. He was just another kid from Oakland. Another kid who met death way too early. Another kid who had a story the world should know.\u003c/p>\n\u003cfigure id=\"attachment_13827372\" class=\"wp-caption aligncenter\" style=\"max-width: 630px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13827372\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/LilGoo.Believe.jpg\" alt=\"Lil Goo and Vari 4 Hun's 'Believe It or Not,' with Devonte Thomas on the cover.\" width=\"630\" height=\"630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe.jpg 630w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/LilGoo.Believe-150x150.jpg 150w\" sizes=\"(max-width: 630px) 100vw, 630px\">\u003cfigcaption class=\"wp-caption-text\">Lil Goo and Vari 4 Hun’s ‘Believe It or Not,’ with Devonte Thomas on the cover. \u003ccite>(Dope Era)\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\">L\u003c/span>ate last year, I stepped inside the former location of Mistah F.A.B.’s Dope Era clothing store in North Oakland, and spoke to two rappers who go by Lil Goo and Vari 4 Hun. In the middle of all the colorful clothing and hats, the two were seated, holding a CD with the face of Devonte on the cover.\u003c/p>\n\u003cp>It was their first combined album; something they wanted to release after the death of Devonte (who they also refer to as Vonte or Tay), to honor him.\u003c/p>\n\u003cp>In Oakland, you’ll see a number of different ways people pay homage to loved ones who’ve lost their lives. Some people wear string necklaces that hold laminated pictures of the deceased. Some people wear shirts or hoodies. Some folks get tattoos. Others put obituaries in the dashboard. And some carry their fallen friends’ legacies on by way of making art — especially music.\u003c/p>\n\u003caside class=\"pullquote alignright\">Devonte may be gone, but his story remains. It’s bigger than a paragraph in the local newspaper. It’s more than just a number in the homicide count.\u003c/aside>\n\u003cp>Using art to deal with death is not only a cathartic outlet, it benefits the larger community as well. “I know a lot of people will see the tape and be like, ‘OK, this Vonte,’ they know he was a real dude, so they know it ain’t nothing but real on this tape,” Lil Goo told me.\u003c/p>\n\u003cp>He continued. “There were different ways we could’ve handled it, ya know?” To which Vari 4 Hun said, “Way different ways,” almost in ad-lib form.\u003c/p>\n\u003cp>“I feel like this was the best way,” Lil Goo said. “Throwing my boy on the front of our cover, on our tape, handle it like that. Handle it the right way. By getting the message out, ya know?”\u003c/p>\n\u003cp>Mistah F.A.B., internationally known MC and owner of Dope Era, agreed. Making art to benefit the larger community works, “‘cause homicides aren’t going anywhere, so it’s on the community to do something about it,” he told me.\u003c/p>\n\u003cp>Mistah F.A.B. expressly said how proud he was of the young men, using art to express themselves as opposed to alternatives. “To say man, ‘We’ve been BS’ing. We’ve been playing, let’s really put this music out.’ And, ‘Since us putting it out for us wasn’t enough, let’s put it out for Tay,’” F.A.B. told me, noting that the death of friends and family has always become a motivating factor in his pursuit of his dreams as an artist.\u003c/p>\n\u003cp>Once someone is memorialized through art, F.A.B. noted, there’s no limit to who it can reach. “His mother, his father, will be able to see their son on an album cover that represents something positive,” he said. “His son, when he gets older, he can be like, ‘Man, they kept it lit for my daddy.’”\u003c/p>\n\u003cfigure id=\"attachment_13827389\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827389\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/counted-800x406.jpg\" alt=\"Listen to Snap Judgment's 'Counted: An Oakland Story' above.\" width=\"800\" height=\"406\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-800x406.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-160x81.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-768x390.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-1020x517.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-960x487.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-240x122.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-375x190.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted-520x264.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/counted.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Listen to Snap Judgment’s ‘Counted: An Oakland Story’ above.\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\">K\u003c/span>eeping it lit, or keeping someone’s legacy alive, is what matters. That’s what the community will appreciate, that’s what the family will benefit from and ultimately, one day, that’s what his son will cherish.\u003c/p>\n\u003cp>“That day, I saw (Devonte) on the ground, man…” said Lil Goo, reminiscing on his childhood friend. “The last time I seen him before that was like, he was opening presents for his son. And that was the last time. I still got all the videos, I look at the videos every day. Just seeing, like, that was the type of guy he was. Just seeing, and that was one of the last times I seen him, like breathing. And he was like, opening presents for his son on Christmas.”\u003c/p>\n\u003cp>Less than two weeks later, Devonte would be gone. But his story remains. It’s bigger than a paragraph in the local newspaper. It’s more than just a number in the homicide count.\u003c/p>\n\u003cp>It’s the story of a young man who lived in Oakland, and who died way too soon. But the people who loved him made sure to keep his story alive.\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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"content": "\u003cp>There’s a phrase, coined by Eric B. & Rakim, that’s embedded in rap music’s lexicon: “It ain’t where you’re from, it’s where you’re at.” Now, a new exhibit in Oakland flips that idea of the present, called \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>. \u003c/p>\n\u003cp>Starting back in the 1970s with block parties in the Bronx, the timeline of the show means you’ll see artifacts from all over — Grandmaster Flash’s turntables, LL Cool J’s tracksuit and more. But of course, we’re interested in the Bay Area history here, including a handwritten essay by Tupac comparing black men in America to early American revolutionaries (remember, Tupac once \u003ca href=\"https://www.kqed.org/arts/11696060\" rel=\"noopener\" target=\"_blank\">sued the Oakland police department — and won\u003c/a>). There’s work by two of our favorite Oakland street photographers, \u003ca href=\"https://www.kqed.org/arts/11508333\" rel=\"noopener\" target=\"_blank\">Brittsense\u003c/a> and \u003ca href=\"https://www.instagram.com/amandasade/?hl=en\" rel=\"noopener\" target=\"_blank\">Amanda Sade\u003c/a>, showing how hip-hop still resonates in street style. And veteran rap writer Eric Arnold has put together a huge map of Bay Area hip-hop history that expands on his epic \u003cem>\u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/\" rel=\"noopener\" target=\"_blank\">Rap Atlas: Oakland\u003c/a>\u003c/em>, marking important locations like the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, or the Eastmont Mall, which birthed the \u003ca href=\"https://www.kqed.org/arts/13824571\" rel=\"noopener\" target=\"_blank\">sideshow as we know it\u003c/a>.\u003c/p>\n\u003cp>There’s a wealth of rap history here in the Bay Area and it hasn’t always been well-chronicled. But with input from well-regarded local rap historians like Davy D and Jeff Chang, \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em> is bound to help fix that. It opens at the Oakland Museum of California on March 24, and runs until mid-August. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a phrase, coined by Eric B. & Rakim, that’s embedded in rap music’s lexicon: “It ain’t where you’re from, it’s where you’re at.” Now, a new exhibit in Oakland flips that idea of the present, called \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em>. \u003c/p>\n\u003cp>Starting back in the 1970s with block parties in the Bronx, the timeline of the show means you’ll see artifacts from all over — Grandmaster Flash’s turntables, LL Cool J’s tracksuit and more. But of course, we’re interested in the Bay Area history here, including a handwritten essay by Tupac comparing black men in America to early American revolutionaries (remember, Tupac once \u003ca href=\"https://www.kqed.org/arts/11696060\" rel=\"noopener\" target=\"_blank\">sued the Oakland police department — and won\u003c/a>). There’s work by two of our favorite Oakland street photographers, \u003ca href=\"https://www.kqed.org/arts/11508333\" rel=\"noopener\" target=\"_blank\">Brittsense\u003c/a> and \u003ca href=\"https://www.instagram.com/amandasade/?hl=en\" rel=\"noopener\" target=\"_blank\">Amanda Sade\u003c/a>, showing how hip-hop still resonates in street style. And veteran rap writer Eric Arnold has put together a huge map of Bay Area hip-hop history that expands on his epic \u003cem>\u003ca href=\"http://www.complex.com/pop-culture/2011/02/rap-atlas-oakland/\" rel=\"noopener\" target=\"_blank\">Rap Atlas: Oakland\u003c/a>\u003c/em>, marking important locations like the studio where Too Short recorded \u003cem>Born to Mack\u003c/em>, or the Eastmont Mall, which birthed the \u003ca href=\"https://www.kqed.org/arts/13824571\" rel=\"noopener\" target=\"_blank\">sideshow as we know it\u003c/a>.\u003c/p>\n\u003cp>There’s a wealth of rap history here in the Bay Area and it hasn’t always been well-chronicled. But with input from well-regarded local rap historians like Davy D and Jeff Chang, \u003cem>Respect: Hip-Hop Style and Wisdom\u003c/em> is bound to help fix that. It opens at the Oakland Museum of California on March 24, and runs until mid-August. \u003ca href=\"http://museumca.org/exhibit/respect-hip-hop-style-wisdom\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Let's Overanalyze the Trailer for Boots Riley's 'Sorry to Bother You'",
"headTitle": "Let’s Overanalyze the Trailer for Boots Riley’s ‘Sorry to Bother You’ | KQED",
"content": "\u003cp>If you’ve been counting down the days until this summer’s release of \u003ci>Sorry to Bother You\u003c/i>, the Oakland-filmed, Oakland-set feature from first-time writer and director Boots Riley, this might help ease the pain of waiting: The official trailer has arrived, and I’m here to overanalyze it.\u003c/p>\n\u003cp>https://youtu.be/enH3xA4mYcY\u003c/p>\n\u003cp>In the first three seconds, stuff’s already weird. \u003c/p>\n\u003cp>Cassius “Cash” Green (Lakeith Stanfield) flips through channels on a television set and frenetic clips play in rapid succession. We see him and his girlfriend Detroit (Tessa Thompson) kiss in front of coordinated backup dancers while the text “Have a Cola And Smile Bitch” frames their pose. Then: Riot cops and protesters clash. Chaos! Then: A gleeful Steve Lift (Armie Hammer) appears on bizarro CNN with the chryon, “Worryfree Genetic Advancements Cause Largest Stock Market Rally in History.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>I know what you’re saying to yourself. How could all these scenes possibly coexist within the same movie? And there’s still two and a half minutes left in this trailer?\u003c/p>\n\u003cp>The preview sets Cash up as a hapless hero. He drives around in a beat-up car that he fills with 40 cents’ worth of gas at a time. He and Detroit try to canoodle in his room, but when one of the walls suddenly disappears, it turns out he lives in his uncle’s garage (Terry Crews) — and he owes rent. \u003c/p>\n\u003cp>It’s when we see Cash with a new job in telemarketing that the surreal visuals promised in the opening sequence return. As he cold-calls a family, Cash and his work desk drop jarringly into their living room. He’s barely halfway through the titular phrase before he gets hung up on. One more fail.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Enter coworker Langston (Danny Glover) with some sage advice: “You want to make some money here, use your white voice.” Boom, Cash’s mind is blown. His voice now dubbed by David Cross, Cash high fives his manager at work, pops a champagne bottle and gets promoted upstairs as a “power caller.”\u003c/p>\n\u003cp>Cue a fast-paced montage of Cash climbing the executive ladder: a gold elevator that talks, Omari Hardwick in an eyepatch and mutton chops, more riots, mostly white business folks toasting each other while perched on oversized blonde hardwood stairs. There’s clearly something nefarious about the upper levels of this company.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Meanwhile, a crisis of conscience looms. “They’re not selling what we’re selling,” says Langston, ominously. Detroit isn’t into the new suit-wearing Cash. And like many hapless kindhearted guys who experience meteoric rises to success, Cash finds himself questioning just how he got here. Then a bottle of “cola” hits him in the head. A callback to that opening sequence, perhaps?\u003c/p>\n\u003cp>A seemingly coked-up gun-wielding Steve Lift appears once more to lure a terrified-looking Cash back to the dark side with a monetary offer, and we’re out: the trailer is over, and meanwhile, stars like Patton Oswalt promise that \u003ca href=\"https://twitter.com/pattonoswalt/status/972975066089603072\" rel=\"noopener\" target=\"_blank\">the film itself is even crazier\u003c/a> than this short teaser. (Four words: genetically modified horse people.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cstrong>Stray observations:\u003c/strong>\u003c/p>\n\u003cp>Tessa Thompson’s style in every single scene is second to none.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Steven Yeun plays a character named Squeeze, but we don’t get any clues about his role in the film beyond a fairly impressive sign-twirling display.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>The thrill of seeing a BART train in a major motion picture will never ever get old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> comes to theaters on July 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "There's 117 days to go before this much-anticipated movie hits theaters, but a needlessly in-depth look at the trailer helps tide us over.",
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"description": "There's 117 days to go before this much-anticipated movie hits theaters, but a needlessly in-depth look at the trailer helps tide us over.",
"title": "Let's Overanalyze the Trailer for Boots Riley's 'Sorry to Bother You' | KQED",
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"headline": "Let's Overanalyze the Trailer for Boots Riley's 'Sorry to Bother You'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve been counting down the days until this summer’s release of \u003ci>Sorry to Bother You\u003c/i>, the Oakland-filmed, Oakland-set feature from first-time writer and director Boots Riley, this might help ease the pain of waiting: The official trailer has arrived, and I’m here to overanalyze it.\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/enH3xA4mYcY'\n title='//www.youtube.com/embed/enH3xA4mYcY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the first three seconds, stuff’s already weird. \u003c/p>\n\u003cp>Cassius “Cash” Green (Lakeith Stanfield) flips through channels on a television set and frenetic clips play in rapid succession. We see him and his girlfriend Detroit (Tessa Thompson) kiss in front of coordinated backup dancers while the text “Have a Cola And Smile Bitch” frames their pose. Then: Riot cops and protesters clash. Chaos! Then: A gleeful Steve Lift (Armie Hammer) appears on bizarro CNN with the chryon, “Worryfree Genetic Advancements Cause Largest Stock Market Rally in History.” \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827054\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou2-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>I know what you’re saying to yourself. How could all these scenes possibly coexist within the same movie? And there’s still two and a half minutes left in this trailer?\u003c/p>\n\u003cp>The preview sets Cash up as a hapless hero. He drives around in a beat-up car that he fills with 40 cents’ worth of gas at a time. He and Detroit try to canoodle in his room, but when one of the walls suddenly disappears, it turns out he lives in his uncle’s garage (Terry Crews) — and he owes rent. \u003c/p>\n\u003cp>It’s when we see Cash with a new job in telemarketing that the surreal visuals promised in the opening sequence return. As he cold-calls a family, Cash and his work desk drop jarringly into their living room. He’s barely halfway through the titular phrase before he gets hung up on. One more fail.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827057\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou4-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Enter coworker Langston (Danny Glover) with some sage advice: “You want to make some money here, use your white voice.” Boom, Cash’s mind is blown. His voice now dubbed by David Cross, Cash high fives his manager at work, pops a champagne bottle and gets promoted upstairs as a “power caller.”\u003c/p>\n\u003cp>Cue a fast-paced montage of Cash climbing the executive ladder: a gold elevator that talks, Omari Hardwick in an eyepatch and mutton chops, more riots, mostly white business folks toasting each other while perched on oversized blonde hardwood stairs. There’s clearly something nefarious about the upper levels of this company.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827062\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou9-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827063\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou10-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Meanwhile, a crisis of conscience looms. “They’re not selling what we’re selling,” says Langston, ominously. Detroit isn’t into the new suit-wearing Cash. And like many hapless kindhearted guys who experience meteoric rises to success, Cash finds himself questioning just how he got here. Then a bottle of “cola” hits him in the head. A callback to that opening sequence, perhaps?\u003c/p>\n\u003cp>A seemingly coked-up gun-wielding Steve Lift appears once more to lure a terrified-looking Cash back to the dark side with a monetary offer, and we’re out: the trailer is over, and meanwhile, stars like Patton Oswalt promise that \u003ca href=\"https://twitter.com/pattonoswalt/status/972975066089603072\" rel=\"noopener\" target=\"_blank\">the film itself is even crazier\u003c/a> than this short teaser. (Four words: genetically modified horse people.) \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827064\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou11-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cstrong>Stray observations:\u003c/strong>\u003c/p>\n\u003cp>Tessa Thompson’s style in every single scene is second to none.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827056\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou3-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827058\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou5-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou8-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>Steven Yeun plays a character named Squeeze, but we don’t get any clues about his role in the film beyond a fairly impressive sign-twirling display.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou6-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>The thrill of seeing a BART train in a major motion picture will never ever get old. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg\" alt=\"\" width=\"854\" height=\"440\" class=\"aligncenter size-full wp-image-13827065\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12.jpg 854w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-800x412.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-240x124.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/SorryToBotherYou12-520x268.jpg 520w\" sizes=\"(max-width: 854px) 100vw, 854px\">\u003c/p>\n\u003cp>\u003ci>Sorry to Bother You\u003c/i> comes to theaters on July 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "new-oakland-law-could-prevent-cannabis-companies-from-evicting-tenants",
"title": "New Oakland Law Could Prevent Cannabis Companies From Evicting Tenants",
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"headTitle": "New Oakland Law Could Prevent Cannabis Companies From Evicting Tenants | KQED",
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"content": "\u003cp>The \u003ca href=\"http://www2.oaklandnet.com/government/o/CityCouncil/index.htm\" target=\"_blank\" rel=\"noopener\">Oakland City Council\u003c/a> will hold a \u003ca href=\"https://oakland.legistar.com/MeetingDetail.aspx?ID=597787&GUID=AF0CC090-CE3E-4B30-B4A2-F7D09DA30968&Search=\" target=\"_blank\" rel=\"noopener\">special meeting on Thursday\u003c/a> to discuss new legislation that, if passed, could prevent cannabis companies who own real estate from displacing existing tenants.\u003c/p>\n\u003cp>The proposed amendments to the city’s cannabis ordinances, Oakland Municipal Code Chapters 5.80 and 5.81, prohibit the issuance of any approvals for cannabis businesses seeking to operate in spaces currently occupied by work-live or residential uses.\u003c/p>\n\u003cp>Oakland councilmember \u003ca href=\"http://www2.oaklandnet.com/government/o/CityCouncil/o/AtLarge/index.htm\" target=\"_blank\" rel=\"noopener\">Rebecca Kaplan\u003c/a>, the co-author of the proposed legislation, says the amendments balance the city’s support of the cannabis industry with protections for work-live spaces, thus supporting a diverse industrial sector in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13826454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826454\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-800x452.jpg\" alt=\"Oakland councilwoman Rebecca Kaplan is the co-author of the new legislation.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610.jpg 1848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland councilwoman Rebecca Kaplan is the co-author of the new legislation. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“As we’re now moving into this new phase as adult recreational use has been legalized in California and there’s a lot of growth in the industry, I think it’s important that we continue to have responsible regulation that both brings the cannabis industry into effective legal use while also protecting community needs,” Kaplan says.\u003c/span>\u003c/p>\n\u003cp>The legislation would cover all Oakland renters, but Kaplan says it was inspired by eviction fears of tenants in Oakland’s live-work warehouses, many of whom are artists and creatives.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“So it’s both about preserving the affordability and vitality of the housing range as well as specifically fostering the arts and creative community,” Kaplan says.\u003c/p>\n\u003cfigure id=\"attachment_13826456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826456\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0053-800x600.jpg\" alt=\"Arthur Monroe’s studio at The Cannery. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Monroe’s studio at The Cannery. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaplan says tenants in around 25 permitted live-work spaces in Oakland’s so-called “Green Zone” might be at risk from wealthy cannabis companies snapping up their buildings and then kicking them out.\u003c/p>\n\u003cp>One such building is The Cannery. Founded as an arts warehouse by abstract expressionist painter Arthur Monroe in the 1970s, the industrial building in Oakland’s Green Zone is home to around 30 creatives.\u003c/p>\n\u003cfigure id=\"attachment_13826458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826458\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-800x452.jpg\" alt=\"Alistair Monroe poses at The Cannery in front of one of his father Arthur Monroe's abstract canvases.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alistair Monroe poses at The Cannery in front of one of his father Arthur Monroe’s abstract canvases. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist and longtime resident of The Cannery Alistair Monroe (the founder’s son) says the new owner of his building, Denver marijuana company \u003ca href=\"http://greensagemb.com/\" target=\"_blank\" rel=\"noopener\">Green Sage\u003c/a>, has threatened eviction. But they haven’t said when.\u003c/p>\n\u003cp>“It’s like we’re on a walking plank,” he says of the climate of uncertainty in his building.\u003c/p>\n\u003cp>“It really caused us a lot of sleepless nights,” says artist Rebecca Firestone, who has been a Cannery resident for the past eight years.\u003c/p>\n\u003cp>Alistair Monroe says his father has fallen critically ill as a result of the stress caused by a potential eviction and is now\u003cspan style=\"font-weight: 400\"> staying at a nursing home in Oakland. “This building means everything to him,” Alistair Monroe says.\u003c/span>\u003c/p>\n\u003cp>Green Sage did not respond to requests for comment for this story.\u003c/p>\n\u003cp>Kaplan points out that the ordinance amendment does not control eviction law; it only controls cannabis permitting. So if it takes effect, cannabis companies that evict tenants won’t be given a permit to operate in the building. This could save The Cannery’s tenants from being forced out.\u003c/p>\n\u003cfigure id=\"attachment_13826460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-800x450.jpg\" alt=\"Artist Rebecca Firestone poses in her studio at The Cannery.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256.jpg 1838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Rebecca Firestone poses in her studio at The Cannery. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Anything that slows Green Sage down is a good thing,” says Firestone of the proposed legislation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But she doesn’t think staying at The Cannery is a given, even if the legislation is passed. “We have to think that this is a bigger battle than just us,” Firestone says. “Sometimes even people who lose their battle make it easier for the next people to stay and survive.”\u003c/span>\u003c/p>\n\u003cp>Cannabis industry attorney Josh Kappel, a partner with the nationwide cannabis law firm \u003ca href=\"http://vicentesederberg.com/\" target=\"_blank\" rel=\"noopener\">Vicente Sederberg\u003c/a>, says Oakland’s renters wouldn’t feel so threatened if the city were to allow the companies to spread out beyond designated areas.\u003c/p>\n\u003cfigure id=\"attachment_13826476\" class=\"wp-caption aligncenter\" style=\"max-width: 415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13826476\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Poster-Design.jpg\" alt=\"Poster design for The Cannery's campaign to stop the building's new owners from evicting the tenants from their long-standing live-work spaces.\" width=\"415\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Poster-Design.jpg 415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Poster-Design-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Poster-Design-240x374.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Poster-Design-375x584.jpg 375w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003cfigcaption class=\"wp-caption-text\">Poster design for The Cannery’s campaign to stop the building’s new owners from evicting the tenants from their long-standing live-work spaces. \u003ccite>(Photo: Courtesy of Alistair Monroe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rather, treat them like a lot of other businesses in this city and allow them to operate in more places,” Kappel says. “Then you wouldn’t see the same land grab.”\u003c/p>\n\u003cp>Yet Kappel says he welcomes the city’s proposed measure — which he says might be the first of its kind in the United States — as a way to help balance the rights of individuals with those of the marketplace.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That might be a solution in terms of protecting those who are less advantaged and can’t compete financially with the economic exuberance of this new cannabis industry,” Kappel says. “Especially in light of recent events like the Oakland Warehouse Fire that negatively impacted these artist communities already.”\u003c/span>\u003c/p>\n\u003cp>\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, 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"excerpt": "Councilwoman Rebecca Kaplan says if the proposed legislation passes, residents of live-work and other buildings in Oakland's designated cannabis business areas will be protected.",
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"title": "New Oakland Law Could Prevent Cannabis Companies From Evicting Tenants | KQED",
"description": "Councilwoman Rebecca Kaplan says if the proposed legislation passes, residents of live-work and other buildings in Oakland's designated cannabis business areas will be protected.",
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"headline": "New Oakland Law Could Prevent Cannabis Companies From Evicting Tenants",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www2.oaklandnet.com/government/o/CityCouncil/index.htm\" target=\"_blank\" rel=\"noopener\">Oakland City Council\u003c/a> will hold a \u003ca href=\"https://oakland.legistar.com/MeetingDetail.aspx?ID=597787&GUID=AF0CC090-CE3E-4B30-B4A2-F7D09DA30968&Search=\" target=\"_blank\" rel=\"noopener\">special meeting on Thursday\u003c/a> to discuss new legislation that, if passed, could prevent cannabis companies who own real estate from displacing existing tenants.\u003c/p>\n\u003cp>The proposed amendments to the city’s cannabis ordinances, Oakland Municipal Code Chapters 5.80 and 5.81, prohibit the issuance of any approvals for cannabis businesses seeking to operate in spaces currently occupied by work-live or residential uses.\u003c/p>\n\u003cp>Oakland councilmember \u003ca href=\"http://www2.oaklandnet.com/government/o/CityCouncil/o/AtLarge/index.htm\" target=\"_blank\" rel=\"noopener\">Rebecca Kaplan\u003c/a>, the co-author of the proposed legislation, says the amendments balance the city’s support of the cannabis industry with protections for work-live spaces, thus supporting a diverse industrial sector in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13826454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826454\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-800x452.jpg\" alt=\"Oakland councilwoman Rebecca Kaplan is the co-author of the new legislation.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Rebecca-Kaplan-e1520384362610.jpg 1848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland councilwoman Rebecca Kaplan is the co-author of the new legislation. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“As we’re now moving into this new phase as adult recreational use has been legalized in California and there’s a lot of growth in the industry, I think it’s important that we continue to have responsible regulation that both brings the cannabis industry into effective legal use while also protecting community needs,” Kaplan says.\u003c/span>\u003c/p>\n\u003cp>The legislation would cover all Oakland renters, but Kaplan says it was inspired by eviction fears of tenants in Oakland’s live-work warehouses, many of whom are artists and creatives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“So it’s both about preserving the affordability and vitality of the housing range as well as specifically fostering the arts and creative community,” Kaplan says.\u003c/p>\n\u003cfigure id=\"attachment_13826456\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826456\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0053-800x600.jpg\" alt=\"Arthur Monroe’s studio at The Cannery. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0053.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Arthur Monroe’s studio at The Cannery. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kaplan says tenants in around 25 permitted live-work spaces in Oakland’s so-called “Green Zone” might be at risk from wealthy cannabis companies snapping up their buildings and then kicking them out.\u003c/p>\n\u003cp>One such building is The Cannery. Founded as an arts warehouse by abstract expressionist painter Arthur Monroe in the 1970s, the industrial building in Oakland’s Green Zone is home to around 30 creatives.\u003c/p>\n\u003cfigure id=\"attachment_13826458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826458\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-800x452.jpg\" alt=\"Alistair Monroe poses at The Cannery in front of one of his father Arthur Monroe's abstract canvases.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-1180x666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216-520x294.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0051-e1520385028216.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alistair Monroe poses at The Cannery in front of one of his father Arthur Monroe’s abstract canvases. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Artist and longtime resident of The Cannery Alistair Monroe (the founder’s son) says the new owner of his building, Denver marijuana company \u003ca href=\"http://greensagemb.com/\" target=\"_blank\" rel=\"noopener\">Green Sage\u003c/a>, has threatened eviction. But they haven’t said when.\u003c/p>\n\u003cp>“It’s like we’re on a walking plank,” he says of the climate of uncertainty in his building.\u003c/p>\n\u003cp>“It really caused us a lot of sleepless nights,” says artist Rebecca Firestone, who has been a Cannery resident for the past eight years.\u003c/p>\n\u003cp>Alistair Monroe says his father has fallen critically ill as a result of the stress caused by a potential eviction and is now\u003cspan style=\"font-weight: 400\"> staying at a nursing home in Oakland. “This building means everything to him,” Alistair Monroe says.\u003c/span>\u003c/p>\n\u003cp>Green Sage did not respond to requests for comment for this story.\u003c/p>\n\u003cp>Kaplan points out that the ordinance amendment does not control eviction law; it only controls cannabis permitting. So if it takes effect, cannabis companies that evict tenants won’t be given a permit to operate in the building. This could save The Cannery’s tenants from being forced out.\u003c/p>\n\u003cfigure id=\"attachment_13826460\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826460\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-800x450.jpg\" alt=\"Artist Rebecca Firestone poses in her studio at The Cannery.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/IMG_0055-e1520385212256.jpg 1838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Rebecca Firestone poses in her studio at The Cannery. \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Anything that slows Green Sage down is a good thing,” says Firestone of the proposed legislation. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But she doesn’t think staying at The Cannery is a given, even if the legislation is passed. “We have to think that this is a bigger battle than just us,” Firestone says. “Sometimes even people who lose their battle make it easier for the next people to stay and survive.”\u003c/span>\u003c/p>\n\u003cp>Cannabis industry attorney Josh Kappel, a partner with the nationwide cannabis law firm \u003ca href=\"http://vicentesederberg.com/\" target=\"_blank\" rel=\"noopener\">Vicente Sederberg\u003c/a>, says Oakland’s renters wouldn’t feel so threatened if the city were to allow the companies to spread out beyond designated areas.\u003c/p>\n\u003cfigure id=\"attachment_13826476\" class=\"wp-caption aligncenter\" style=\"max-width: 415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13826476\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Poster-Design.jpg\" alt=\"Poster design for The Cannery's campaign to stop the building's new owners from evicting the tenants from their long-standing live-work spaces.\" width=\"415\" height=\"646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Poster-Design.jpg 415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Poster-Design-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Poster-Design-240x374.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Poster-Design-375x584.jpg 375w\" sizes=\"(max-width: 415px) 100vw, 415px\">\u003cfigcaption class=\"wp-caption-text\">Poster design for The Cannery’s campaign to stop the building’s new owners from evicting the tenants from their long-standing live-work spaces. \u003ccite>(Photo: Courtesy of Alistair Monroe)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rather, treat them like a lot of other businesses in this city and allow them to operate in more places,” Kappel says. “Then you wouldn’t see the same land grab.”\u003c/p>\n\u003cp>Yet Kappel says he welcomes the city’s proposed measure — which he says might be the first of its kind in the United States — as a way to help balance the rights of individuals with those of the marketplace.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“That might be a solution in terms of protecting those who are less advantaged and can’t compete financially with the economic exuberance of this new cannabis industry,” Kappel says. “Especially in light of recent events like the Oakland Warehouse Fire that negatively impacted these artist communities already.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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