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"content": "\u003cp>It’s been five months since acclaimed East Bay singer and songwriter Viveca Hawkins suffered a stroke and a massive seizure, leaving her partially paralyzed and unable to talk. She’s had multiple surgeries in the meantime, including the removal of a portion of her skull. She’s gone through therapy and rehab. And she’s made remarkable progress that, at times, has bewildered her doctors.\u003c/p>\n\u003cp>Now, the Berkeley High grad and Berklee College of Music alum who’s shared the stage or recorded with the likes of the Coup, Kev Choice, Con Brio, Zion I, \u003ca href=\"https://berkeleybside.com/p-funks-guide-to-the-mothership/\" target=\"_blank\" rel=\"noopener\">Parliament Funkadelic\u003c/a> and Stevie Wonder can walk and talk. She’s not singing just yet, but she finds joy in humming along to her favorite tunes, as well as cracking jokes with friends and playing the kazoo.\u003c/p>\n\u003cp>Though physicians don’t have a stated timetable for it, they say a full recovery is possible, however long and arduous it may be. Hawkins’ amazing early strides have been fueled by her own strength, her team of medical professionals and the love she’s received from friends, family and fans.\u003c/p>\n\u003cfigure id=\"attachment_13977914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977914\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Viveca Hawkins poses for a behind-the-scenes photo at Soiled Dove in Oakland. \u003ccite>(Daisy Rose Coby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That love culminates on Sunday, June 29, in a \u003ca href=\"https://www.ticketweb.com/event/give-for-viv-support-viveca-the-independent-tickets/14481943?pl=independentsf\">\u003cem>Give For Viv\u003c/em> benefit show\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe_xtXfgg_-X8IUzp49fuEUbBQkqeEriarolk9woa5uHz9g-g/viewform\">silent auction\u003c/a> at the Independent in San Francisco.\u003c/p>\n\u003cp>Hosted by actor and writer \u003ca href=\"https://www.instagram.com/rafaelcasal/?hl=en\" target=\"_blank\" rel=\"noopener\">Rafael Casal\u003c/a>, the night features a talented lineup of Hawkins’ collaborators, including members of \u003ca href=\"https://www.instagram.com/dumpstaphunk/\" target=\"_blank\" rel=\"noopener\">Dumpstaphunk\u003c/a>, \u003ca href=\"https://www.instagram.com/thenthpower/\" target=\"_blank\" rel=\"noopener\">The Nth Power\u003c/a>, \u003ca href=\"https://www.instagram.com/jazzmafiamusic/\" target=\"_blank\" rel=\"noopener\">Jazz Mafia\u003c/a>, \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a> and others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hawkins’ childhood friend and co-organizer of the event, \u003ca href=\"https://www.joyfulmehealing.com/about\" target=\"_blank\" rel=\"noopener\">Emily Schmookler\u003c/a>, says this Sunday’s show is all about “pouring into a person who always pours so much love, energy, joy and fun into everything she does and everyone she’s around.”\u003c/p>\n\u003cp>Now, Schmookler says, is the time to reciprocate those intangible deposits.\u003c/p>\n\u003cp>“I don’t think people quite get how life-altering this was for her until they actually see her,” says Schmookler, who filmed \u003ca href=\"https://www.instagram.com/p/DKc8GLKBPb_/\" target=\"_blank\" rel=\"noopener\">a video of Hawkins recently posted on Instagram\u003c/a>. Hawkins, known for her big, curly hair and eccentrically fly aesthetic, wears a black hoodie and sports a low haircut as she thanks everyone who’s supported her in her recovery.\u003c/p>\n\u003cp>“That’s the first time some people have seen her since,” says Schmookler, emphasizing that Hawkins’ hair was a huge part of her identity. “I will say,” Schmookler adds, “she’s taken all this with so much grace.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nslMFKcLEms\u003c/p>\n\u003cp>On the morning of Jan. 14, just days before her birthday, Hawkins repetitively called her friend, Tiffani Patton. In the middle of morning meetings, Patton initially couldn’t pick up the calls, but knew something was off, as Hawkins usually texts.\u003c/p>\n\u003cp>“Then I picked up,” says Patton. “And she was just like, ‘Something’s wrong with me, I don’t know what’s happening. I need to go to the hospital.'”\u003c/p>\n\u003cp>Patton took her to Alta Bates. Doctors ran tests on Hawkins, concluding that she’d had a stroke, and that a blood clot needed to be removed from her brain. “When that procedure happened,” Patton recalls, “she had a massive seizure.”\u003c/p>\n\u003cp>Hawkins’ condition went from a two to a nine on the emergency scale, says Patton. Things got scary as Hawkins’ brain began to swell; doctors quickly performed an emergency craniectomy to relieve the pressure inside her skull.\u003c/p>\n\u003cp>Hawkins wore a helmet for weeks afterward. Meanwhile, inside her brain, healing got underway faster than the neurologist expected, says Patton. While the stroke and seizure had severely impacted the part of Hawkins’ brain that helps with speech, being a singer turned out to be a huge asset.\u003c/p>\n\u003cp>“Words live not just in one part of her brain, but in all these other parts too,” Patton says, quoting the doctor. “So she was able to start talking pretty quickly.”\u003c/p>\n\u003cfigure id=\"attachment_13977982\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13977982 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-2000x1334.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Viveca Hawkins has made a full-time living by singing and performing around the world. \u003ccite>(Still Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hawkins’ sense of humor helped, too.\u003c/p>\n\u003cp>“When I walked in there,” says longtime friend Rafael Casal, referring to a recent visit with Hawkins, “she was already shit-talking me as I was coming through the door.”\u003c/p>\n\u003cp>He took that as a good sign, one which showed Hawkins’ humor, love, memories and familiarity were still present. Friends since high school, Casal has watched Hawkins grow over the past two decades, and is certain about how she’ll approach this next stage.\u003c/p>\n\u003cp>“I’ve spent more than half my life watching her cook up miracles in the studio,” he says via a phone call, “and now she’s cooking up the miracle on herself.”\u003c/p>\n\u003cp>[aside postID='arts_13977304']While many have already supported Hawkins via a \u003ca href=\"https://www.gofundme.com/f/Vivecas-stroke-recovery\" target=\"_blank\" rel=\"noopener\">GoFundMe\u003c/a>, Sunday’s event is an opportunity for people to “come through and do the group prayer,” says Casal.\u003c/p>\n\u003cp>Via email, Hawkins says these past few months have been a journey. She’s learning everything all over again, including counting, and ABCs. “Unfortunately I can’t sing yet,” she writes, “but I am getting voice lessons and speech therapy.”\u003c/p>\n\u003cp>A singer since the age of 5, she says it hurts not to be able to perform now, but she retains hope that she’ll sing again soon. For those who can’t attend Sunday’s event, Hawkins reiterates that donations are helpful, as are cards, offers to go for a walk, and recorded voice notes.\u003c/p>\n\u003cp>“Thank you for riding with me,” she writes, addressing her supporters. “I couldn’t do this without you.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Give For Viv: Support Viveca Hawkins’ Healing Journey’ takes place Sunday, June 29, at the Independent in San Francisco. \u003ca href=\"https://www.ticketweb.com/event/give-for-viv-support-viveca-the-independent-tickets/14481943\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. A \u003ca href=\"https://www.youtube.com/live/18bX1E35-vI\">livestream of the show\u003c/a> can be watched on Sunday night \u003ca href=\"https://www.youtube.com/live/18bX1E35-vI\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been five months since acclaimed East Bay singer and songwriter Viveca Hawkins suffered a stroke and a massive seizure, leaving her partially paralyzed and unable to talk. She’s had multiple surgeries in the meantime, including the removal of a portion of her skull. She’s gone through therapy and rehab. And she’s made remarkable progress that, at times, has bewildered her doctors.\u003c/p>\n\u003cp>Now, the Berkeley High grad and Berklee College of Music alum who’s shared the stage or recorded with the likes of the Coup, Kev Choice, Con Brio, Zion I, \u003ca href=\"https://berkeleybside.com/p-funks-guide-to-the-mothership/\" target=\"_blank\" rel=\"noopener\">Parliament Funkadelic\u003c/a> and Stevie Wonder can walk and talk. She’s not singing just yet, but she finds joy in humming along to her favorite tunes, as well as cracking jokes with friends and playing the kazoo.\u003c/p>\n\u003cp>Though physicians don’t have a stated timetable for it, they say a full recovery is possible, however long and arduous it may be. Hawkins’ amazing early strides have been fueled by her own strength, her team of medical professionals and the love she’s received from friends, family and fans.\u003c/p>\n\u003cfigure id=\"attachment_13977914\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13977914\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/DAISY_ROSE_COBY_2019_09_20_SOILED_DOVE_0428-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Viveca Hawkins poses for a behind-the-scenes photo at Soiled Dove in Oakland. \u003ccite>(Daisy Rose Coby)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That love culminates on Sunday, June 29, in a \u003ca href=\"https://www.ticketweb.com/event/give-for-viv-support-viveca-the-independent-tickets/14481943?pl=independentsf\">\u003cem>Give For Viv\u003c/em> benefit show\u003c/a> and \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe_xtXfgg_-X8IUzp49fuEUbBQkqeEriarolk9woa5uHz9g-g/viewform\">silent auction\u003c/a> at the Independent in San Francisco.\u003c/p>\n\u003cp>Hosted by actor and writer \u003ca href=\"https://www.instagram.com/rafaelcasal/?hl=en\" target=\"_blank\" rel=\"noopener\">Rafael Casal\u003c/a>, the night features a talented lineup of Hawkins’ collaborators, including members of \u003ca href=\"https://www.instagram.com/dumpstaphunk/\" target=\"_blank\" rel=\"noopener\">Dumpstaphunk\u003c/a>, \u003ca href=\"https://www.instagram.com/thenthpower/\" target=\"_blank\" rel=\"noopener\">The Nth Power\u003c/a>, \u003ca href=\"https://www.instagram.com/jazzmafiamusic/\" target=\"_blank\" rel=\"noopener\">Jazz Mafia\u003c/a>, \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener\">DJ D Sharp\u003c/a> and others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hawkins’ childhood friend and co-organizer of the event, \u003ca href=\"https://www.joyfulmehealing.com/about\" target=\"_blank\" rel=\"noopener\">Emily Schmookler\u003c/a>, says this Sunday’s show is all about “pouring into a person who always pours so much love, energy, joy and fun into everything she does and everyone she’s around.”\u003c/p>\n\u003cp>Now, Schmookler says, is the time to reciprocate those intangible deposits.\u003c/p>\n\u003cp>“I don’t think people quite get how life-altering this was for her until they actually see her,” says Schmookler, who filmed \u003ca href=\"https://www.instagram.com/p/DKc8GLKBPb_/\" target=\"_blank\" rel=\"noopener\">a video of Hawkins recently posted on Instagram\u003c/a>. Hawkins, known for her big, curly hair and eccentrically fly aesthetic, wears a black hoodie and sports a low haircut as she thanks everyone who’s supported her in her recovery.\u003c/p>\n\u003cp>“That’s the first time some people have seen her since,” says Schmookler, emphasizing that Hawkins’ hair was a huge part of her identity. “I will say,” Schmookler adds, “she’s taken all this with so much grace.”\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/nslMFKcLEms'\n title='//www.youtube.com/embed/nslMFKcLEms'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the morning of Jan. 14, just days before her birthday, Hawkins repetitively called her friend, Tiffani Patton. In the middle of morning meetings, Patton initially couldn’t pick up the calls, but knew something was off, as Hawkins usually texts.\u003c/p>\n\u003cp>“Then I picked up,” says Patton. “And she was just like, ‘Something’s wrong with me, I don’t know what’s happening. I need to go to the hospital.'”\u003c/p>\n\u003cp>Patton took her to Alta Bates. Doctors ran tests on Hawkins, concluding that she’d had a stroke, and that a blood clot needed to be removed from her brain. “When that procedure happened,” Patton recalls, “she had a massive seizure.”\u003c/p>\n\u003cp>Hawkins’ condition went from a two to a nine on the emergency scale, says Patton. Things got scary as Hawkins’ brain began to swell; doctors quickly performed an emergency craniectomy to relieve the pressure inside her skull.\u003c/p>\n\u003cp>Hawkins wore a helmet for weeks afterward. Meanwhile, inside her brain, healing got underway faster than the neurologist expected, says Patton. While the stroke and seizure had severely impacted the part of Hawkins’ brain that helps with speech, being a singer turned out to be a huge asset.\u003c/p>\n\u003cp>“Words live not just in one part of her brain, but in all these other parts too,” Patton says, quoting the doctor. “So she was able to start talking pretty quickly.”\u003c/p>\n\u003cfigure id=\"attachment_13977982\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13977982 size-medium\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-2000x1334.jpg\" alt=\"\" width=\"2000\" height=\"1334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-2000x1334.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/06/Con-Brio-17-240113-2048x1366.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley’s Viveca Hawkins has made a full-time living by singing and performing around the world. \u003ccite>(Still Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hawkins’ sense of humor helped, too.\u003c/p>\n\u003cp>“When I walked in there,” says longtime friend Rafael Casal, referring to a recent visit with Hawkins, “she was already shit-talking me as I was coming through the door.”\u003c/p>\n\u003cp>He took that as a good sign, one which showed Hawkins’ humor, love, memories and familiarity were still present. Friends since high school, Casal has watched Hawkins grow over the past two decades, and is certain about how she’ll approach this next stage.\u003c/p>\n\u003cp>“I’ve spent more than half my life watching her cook up miracles in the studio,” he says via a phone call, “and now she’s cooking up the miracle on herself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While many have already supported Hawkins via a \u003ca href=\"https://www.gofundme.com/f/Vivecas-stroke-recovery\" target=\"_blank\" rel=\"noopener\">GoFundMe\u003c/a>, Sunday’s event is an opportunity for people to “come through and do the group prayer,” says Casal.\u003c/p>\n\u003cp>Via email, Hawkins says these past few months have been a journey. She’s learning everything all over again, including counting, and ABCs. “Unfortunately I can’t sing yet,” she writes, “but I am getting voice lessons and speech therapy.”\u003c/p>\n\u003cp>A singer since the age of 5, she says it hurts not to be able to perform now, but she retains hope that she’ll sing again soon. For those who can’t attend Sunday’s event, Hawkins reiterates that donations are helpful, as are cards, offers to go for a walk, and recorded voice notes.\u003c/p>\n\u003cp>“Thank you for riding with me,” she writes, addressing her supporters. “I couldn’t do this without you.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Give For Viv: Support Viveca Hawkins’ Healing Journey’ takes place Sunday, June 29, at the Independent in San Francisco. \u003ca href=\"https://www.ticketweb.com/event/give-for-viv-support-viveca-the-independent-tickets/14481943\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. A \u003ca href=\"https://www.youtube.com/live/18bX1E35-vI\">livestream of the show\u003c/a> can be watched on Sunday night \u003ca href=\"https://www.youtube.com/live/18bX1E35-vI\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘We Were Hyphy’ Documentary Remembers the Bay Area’s Iconic Rap Subculture",
"headTitle": "‘We Were Hyphy’ Documentary Remembers the Bay Area’s Iconic Rap Subculture | KQED",
"content": "\u003cp>Just about any casual Bay Area hip-hop fan remembers 2000s touchstones like \u003ca href=\"https://www.youtube.com/watch?v=SEpAeSj504c\" target=\"_blank\" rel=\"noopener noreferrer\">stunna shades\u003c/a>, \u003ca href=\"https://youtu.be/lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener noreferrer\">thizz pills\u003c/a> and \u003ca href=\"https://youtu.be/xLvlGVNInw4\" target=\"_blank\" rel=\"noopener noreferrer\">ghostriding the whip\u003c/a>. But the new documentary \u003ca href=\"https://www.wewerehyphy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>We Were Hyphy\u003c/i>\u003c/a> makes the case that the colorful, flamboyant hyphy movement meant something much deeper.\u003c/p>\n\u003cp>For young people born in the years after the war on drugs devastated the Bay Area’s working class communities of color, going dumb was a search for a near-spiritual ecstasy—an escape from oppressive social conditions. And in a region that never quite got its shine in the mainstream music industry, hyphy became an emblem of the Bay Area’s homegrown ingenuity and countercultural spirit.\u003c/p>\n\u003cp>https://vimeo.com/685602124\u003c/p>\n\u003cp>\u003ci>We Were Hyphy\u003c/i> explores this era through firsthand accounts of originators like Nump, Rick Rock and \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>; the younger artists who inherited their legacy, including Droop-E, G-Eazy and Kamaiyah; and chroniclers of the scene, including photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">D-Ray\u003c/a>, Sacramento State University professor Andrea L.S. Moore and KQED’s own columnist and \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Rightnowish\u003c/i>\u003c/a> host Pendarvis Harshaw. Archival footage from Mac Dre’s \u003ca href=\"https://www.youtube.com/watch?v=3SFLEJqzEJQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Treal TV\u003c/i>\u003c/a> DVDs and local newscasts, and a brief Zoom appearance from elder statesmen E-40 and Too $hort, help round out the story. [aside postid='arts_13908484']\u003c/p>\n\u003cp>The film is \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">available for streaming\u003c/a> April 1–17 through \u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinequest\u003c/a>’s Cinejoy online film festival, as well as in person on \u003ca href=\"https://sfdocfest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Saturday, June 4 at the Roxie Theater\u003c/a> as part of the San Francisco Documentary Festival, and marks the debut feature by director \u003ca href=\"https://www.larrymadrigalfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laurence Madrigal\u003c/a>, a 33-year-old Antioch native and San Francisco State University film grad. In addition to D-Ray and Nump, executive producers include \u003ci>Blindspotting\u003c/i> co-creator Rafael Casal and \u003ca href=\"https://www.thizzler.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thizzler\u003c/a> rap site founder Matt Werner.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>We Were Hyphy\u003c/i> is a solid 101 course in the genre and subculture—beyond the life and death of hyphy’s patron saint, Mac Dre, and its big hits, like E-40 and Keak Da Sneak’s “Tell Me When To Go.” Bay Area viewers who were there for the parties, dance battles, concerts and sideshows will feel a sense of pride to see lesser-known sculptors of local culture get their shine on screen. And for a national audience, and even the up-and-coming generation in the Bay who didn’t witness it firsthand, \u003ci>We Were Hyphy\u003c/i> makes for a good introduction.\u003c/p>\n\u003cp>We get to hear from turf dancers like \u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener noreferrer\">Ice Cold 3000\u003c/a>, and people behind the scenes, including \u003ca href=\"https://www.instagram.com/thizznationbiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Thizz Nation\u003c/a> CEO Kilo Curt and \u003ca href=\"https://www.instagram.com/sideshowtone/\" target=\"_blank\" rel=\"noopener noreferrer\">Sideshow Tone\u003c/a>, a keeper of Oakland car culture. With their interviews, the film paints a fuller picture of hyphy as more than just a musical style, but rather a youthful, grassroots movement that came from the streets and became a commercial export. [aside postid='arts_13890570']\u003c/p>\n\u003cp>At times in the film, people who’ve been close to hyphy and Bay Area hip-hop since the 2000s or earlier might yearn for the story to go deeper—especially when it comes to that connection between street culture and mass entertainment. Gender issues also go largely unexplored, and the film only briefly mentions pimp culture as an influence before quickly moving on. Giving a bit more air time to some of these sticky, uncomfortable subjects, and treating them with empathy, could have made the film that much richer.\u003c/p>\n\u003cp>But a documentary about this influential period in Bay Area music and cultural identity is long overdue. And \u003ci>We Were Hyphy\u003c/i> is just one hyphy history, not \u003ci>the\u003c/i> hyphy history. Could a completely thorough, definitive documentary about such an explosive, chaotic movement even exist? \u003ci>We Were Hyphy\u003c/i> is a good starting point of a conversation on screen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Were Hyphy’ is \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">streaming now through April 17 via Cinequest\u003c/a>; details \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. It also screens Saturday, June 4, at the Roxie Theater in San Francisco as part of the San Francisco Documentary Festival; \u003ca href=\"https://sfdocfest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just about any casual Bay Area hip-hop fan remembers 2000s touchstones like \u003ca href=\"https://www.youtube.com/watch?v=SEpAeSj504c\" target=\"_blank\" rel=\"noopener noreferrer\">stunna shades\u003c/a>, \u003ca href=\"https://youtu.be/lhPUi_RbFwU\" target=\"_blank\" rel=\"noopener noreferrer\">thizz pills\u003c/a> and \u003ca href=\"https://youtu.be/xLvlGVNInw4\" target=\"_blank\" rel=\"noopener noreferrer\">ghostriding the whip\u003c/a>. But the new documentary \u003ca href=\"https://www.wewerehyphy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>We Were Hyphy\u003c/i>\u003c/a> makes the case that the colorful, flamboyant hyphy movement meant something much deeper.\u003c/p>\n\u003cp>For young people born in the years after the war on drugs devastated the Bay Area’s working class communities of color, going dumb was a search for a near-spiritual ecstasy—an escape from oppressive social conditions. And in a region that never quite got its shine in the mainstream music industry, hyphy became an emblem of the Bay Area’s homegrown ingenuity and countercultural spirit.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>We Were Hyphy\u003c/i> explores this era through firsthand accounts of originators like Nump, Rick Rock and \u003ca href=\"https://www.kqed.org/arts/13908484/mistah-fab-week-dope-era-academy-dezis-oakland\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a>; the younger artists who inherited their legacy, including Droop-E, G-Eazy and Kamaiyah; and chroniclers of the scene, including photographer \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">D-Ray\u003c/a>, Sacramento State University professor Andrea L.S. Moore and KQED’s own columnist and \u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Rightnowish\u003c/i>\u003c/a> host Pendarvis Harshaw. Archival footage from Mac Dre’s \u003ca href=\"https://www.youtube.com/watch?v=3SFLEJqzEJQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Treal TV\u003c/i>\u003c/a> DVDs and local newscasts, and a brief Zoom appearance from elder statesmen E-40 and Too $hort, help round out the story. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film is \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">available for streaming\u003c/a> April 1–17 through \u003ca href=\"https://www.cinequest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Cinequest\u003c/a>’s Cinejoy online film festival, as well as in person on \u003ca href=\"https://sfdocfest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">Saturday, June 4 at the Roxie Theater\u003c/a> as part of the San Francisco Documentary Festival, and marks the debut feature by director \u003ca href=\"https://www.larrymadrigalfilms.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Laurence Madrigal\u003c/a>, a 33-year-old Antioch native and San Francisco State University film grad. In addition to D-Ray and Nump, executive producers include \u003ci>Blindspotting\u003c/i> co-creator Rafael Casal and \u003ca href=\"https://www.thizzler.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Thizzler\u003c/a> rap site founder Matt Werner.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>We Were Hyphy\u003c/i> is a solid 101 course in the genre and subculture—beyond the life and death of hyphy’s patron saint, Mac Dre, and its big hits, like E-40 and Keak Da Sneak’s “Tell Me When To Go.” Bay Area viewers who were there for the parties, dance battles, concerts and sideshows will feel a sense of pride to see lesser-known sculptors of local culture get their shine on screen. And for a national audience, and even the up-and-coming generation in the Bay who didn’t witness it firsthand, \u003ci>We Were Hyphy\u003c/i> makes for a good introduction.\u003c/p>\n\u003cp>We get to hear from turf dancers like \u003ca href=\"https://www.instagram.com/icecold3000/\" target=\"_blank\" rel=\"noopener noreferrer\">Ice Cold 3000\u003c/a>, and people behind the scenes, including \u003ca href=\"https://www.instagram.com/thizznationbiz/\" target=\"_blank\" rel=\"noopener noreferrer\">Thizz Nation\u003c/a> CEO Kilo Curt and \u003ca href=\"https://www.instagram.com/sideshowtone/\" target=\"_blank\" rel=\"noopener noreferrer\">Sideshow Tone\u003c/a>, a keeper of Oakland car culture. With their interviews, the film paints a fuller picture of hyphy as more than just a musical style, but rather a youthful, grassroots movement that came from the streets and became a commercial export. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At times in the film, people who’ve been close to hyphy and Bay Area hip-hop since the 2000s or earlier might yearn for the story to go deeper—especially when it comes to that connection between street culture and mass entertainment. Gender issues also go largely unexplored, and the film only briefly mentions pimp culture as an influence before quickly moving on. Giving a bit more air time to some of these sticky, uncomfortable subjects, and treating them with empathy, could have made the film that much richer.\u003c/p>\n\u003cp>But a documentary about this influential period in Bay Area music and cultural identity is long overdue. And \u003ci>We Were Hyphy\u003c/i> is just one hyphy history, not \u003ci>the\u003c/i> hyphy history. Could a completely thorough, definitive documentary about such an explosive, chaotic movement even exist? \u003ci>We Were Hyphy\u003c/i> is a good starting point of a conversation on screen.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘We Were Hyphy’ is \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">streaming now through April 17 via Cinequest\u003c/a>; details \u003ca href=\"https://creatics.org/cinejoy/showcase#!/movies/category/nil/length/Features/select/Features\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. It also screens Saturday, June 4, at the Roxie Theater in San Francisco as part of the San Francisco Documentary Festival; \u003ca href=\"https://sfdocfest2022.eventive.org/welcome\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first trailer for \u003cem>Blindspotting\u003c/em>’s TV spin-off just dropped—and this time the focus is female.\u003c/p>\n\u003cp>The new Starz series is, like the original, set in Oakland and co-written by Daveed Diggs and Rafael Casal. Unlike the 2018 movie, however, the eight-episode half-hour dramedy will be told from the perspective of Ashley (Jasmine Cephas Jones). The longtime partner of, and co-parent with Casal’s Miles is seen struggling to make it work after Miles is incarcerated.\u003c/p>\n\u003cp>[aside postid='arts_13837184']The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can see the trailer below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fCtdIC666Ec\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Is there anything so pure as the friendship between the Bay Area’s Daveed Diggs and Rafael Casal? From Youth Speaks poetry slams to mixtapes to critically acclaimed feature films, Diggs and Casal have been creating together for over two decades. And with the duo recently slated to adapt their ode to Oakland, the film \u003cem>Blindspotting\u003c/em>, into a spinoff series for STARZ, the friends and creative partners are likely busy. Still, it’s no surprise that they’ve found time to come to the aid of one of their childhood hangouts, \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Children’s Fairyland\u003c/a> in Oakland.\u003c/p>\n\u003cp>An elaborate world of fairytales come to life, Children’s Fairyland invites close encounters. Meandering through the meticulously-crafted storybook sets originally created by architect William Russell Everitt, children get a chance to live out their fairytale fantasies, whether by gamboling through the “Alice in Wonderland” card maze, careening down the dragon slide, communing with a menagerie of whimsical creatures, or clambering aboard the Jolly Trolly. \u003ca href=\"https://boingboing.net/2019/05/10/childrens-fairyland-the-mid.html\" target=\"_blank\" rel=\"noopener noreferrer\">It’s even said that the place influenced the creation of Disneyland\u003c/a>, and that beloved puppet master Frank Oz got his start in show business as a member of Fairyland’s Vagabond Puppet theatre.\u003c/p>\n\u003cp>But after several rounds of pandemic layoffs, Children’s Fairyland is facing the possibility of permanent closure. So to celebrate the park’s 70-year anniversary, Diggs and Casal will host a “\u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">celebrity storytime\u003c/a>” Sept. 26 to raise funds for the charming institution. The virtual event is free to attend, with a handy donation link available for folks who want to contribute. Either way, watching the creators of the playful 2014 web series “Hobbes and Me” tell stories — with the help of some puppet co-hosts — will be a sweet balm for even the most jaded of hearts.\u003c/p>\n\u003cp>Celebrity Storytime streams Saturday, Sept. 26, at 6:30 p.m. \u003ca href=\"https://www.classy.org/event/fairylands-celebrity-storytime/e297793\" target=\"_blank\" rel=\"noopener noreferrer\">Tickets and details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sx68TPu4dCk\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>Good news for those who loved Daveed Diggs and Rafael Casal’s Oakland-set 2018 film \u003ci>Blindspotting\u003c/i>: it’s turning into a TV show—and picking up right where it left off.\u003c/p>\n\u003cp>Starz has greenlit a series expanding on the film, this time focusing on the character Ashley (played by \u003ci>Hamilton\u003c/i> star Jasmine Cephas Jones), longtime partner of and co-parent with Casal’s Miles. What slim information we have on the show’s premise is that when Miles is suddenly incarcerated (hmmm, \u003ca href=\"https://www.kqed.org/arts/13837271/what-the-complicated-friendship-in-blindspotting-reveals-about-race\" target=\"_blank\" rel=\"noopener noreferrer\">sounds likely\u003c/a>), Ashley is forced to move in with Miles’ mother and half-sister.\u003c/p>\n\u003cp>The ensuing half-hour dramedy will feature Ashley navigating “a chaotic and humorous existential crisis,” according to \u003ca href=\"https://variety.com/2020/tv/news/blindspotting-series-starz-1234765365/\" target=\"_blank\" rel=\"noopener noreferrer\">Variety\u003c/a>. The show will remain set in Oakland; Diggs and Casal will write and executive produce the series, with Casal serving as showrunner. Jones will also produce the show in addition to starring in it.\u003c/p>\n\u003cp>Word’s still out whether the series will actually be filmed in Oakland, but Diggs and Casal’s joint statement made one thing clear: “The soundtrack will indeed slap. OH BOY!”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Oftentimes, real life isn’t full of heroes and villains—it’s full of imperfect individuals trying to make do with imperfect circumstances, and wounding each other in the process. That’s a sentiment that comes across beautifully and poetically in \u003cem>Blindspotting\u003c/em>, a new film that examines a complicated friendship set to the backdrop of heightening racial tensions in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>Collin (played by co-writer Daveed Diggs) is kindhearted and quiet, and trying desperately to get through his last three days of probation without going back to jail. Miles (Diggs’ co-writer Rafael Casal) is a young dad with a comparatively stable life, but he also has an angry streak and is prone to blow-ups and confrontations. Collin is black; Miles is white. And—surprise—Collin is typically the one who faces consequences when the two best friends get in trouble, often because of Miles’s reckless behavior.\u003c/p>\n\u003cp>https://youtu.be/-9-HBqVbtTo\u003c/p>\n\u003cp>Through the guys’ day-to-day work as movers, \u003cem>Blindspotting\u003c/em> does a brilliant job showing gentrification as an ongoing process; they help an art gallery owner pack up his space, and clear out an old Victorian where a black family used to live. The film doesn’t let the viewer escape the sobering realities of the housing crisis, but the two friends’ quick-witted back-and-forth provides much-needed comic relief throughout. The culture clashes between new and old Oakland—like the guys’ friend Dez (Jon Chaffin), whose side hustles include driving for Uber and selling illegal guns, or the $10 green juice at the liquor store—are some of the funniest parts of the movie.\u003c/p>\n\u003cp>But the film’s humor often functions as laughter to keep from crying, and Collin and Miles’s radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block. In a way, \u003cem>Blindspotting\u003c/em> is like a controlled study. Miles and Collin come from similar class backgrounds, went to the same schools and even have the same job. But their different ethnicities drastically alter how they’re treated and perceived, and the tension that grows between them as their lives change is one of the dark comedy’s most emotionally poignant threads.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miles, the white friend, strives to fit in with the mostly black community he grew up in. With his slang, grill and neck tattoo, some people read him as a poser, so he constantly feels the need to prove that he’s really from The Town.\u003c/p>\n\u003cp>But despite his unquestionable Oakland cred, there are telling moments where Miles’s whiteness makes him blind to, and sometimes callous towards, other characters’ struggles—struggles that don’t directly affect him because of his race.\u003c/p>\n\u003cp>One of these crucial scenes happens when Collin comes over to Miles’s place to tell him that he witnessed a police officer kill a young, black man on his drive home the day before. Miles brushes him off and quickly goes back to roughhousing with his son, Sean. “I’m a tough guy! I’m a tough guy,” Miles makes his kid repeat while egging him on to pummel Uncle Collin with punches.\u003c/p>\n\u003cp>Miles seems oblivious to the intense emotions Collin is dealing with after witnessing the murder; to him, it’s just one of many police shootings that have made headlines in recent years. His lack of sensitivity is apparent throughout the film. Later, when watching the news about the shooting, Miles loudly talks over his girlfriend, Ashley (Jasmine Cephas Jones), who is black, as she’s processing the racialized violence on screen. The moment is quick and subtle, maybe not enough to call Miles out if you were in the room. But as the film progresses, a distinct pattern of behavior emerges, and tensions between Miles and Collin reach a fever pitch.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Miles and Collin work together every day, their lives exist largely on parallel, separate tracks. As the clock counts down to the end of his probation, Collin is paranoid that he’ll find himself in the wrong place at the wrong time and wind up back in the system. The film poignantly articulates the tension behind every move he makes; how a police car driving by at night might not be as big a deal to a white person without a record, but, to Collin, elicits hair-raising, heart-palpitating fear that he’ll lose everything if he makes one false move. Characters like Collin’s halfway house supervisor articulate the words “convicted felon” with gravity, as if it’s a brand, a weight, that Collin must now bear.\u003c/p>\n\u003cp>Meanwhile, Miles has a chip on his shoulder because he sometimes gets mistaken for a white gentrifier. It’s easy to empathize with his anger that his city is changing; its culture and history are being erased; and fellow Oakland natives all around him are losing their homes. But the ignorant ways Miles goes about acting out his righteous anger only expose more of his blind spots about race.\u003c/p>\n\u003cp>While Miles’s worst fear is that he’ll be mistaken for a newcomer with a tech job, Collin is afraid that a paranoid white person stereotyping him as the “big, black guy with dreads” (as one character describes him) could cost him his freedom, or even his life.\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these clashes of black and white, \u003cem>Blindspotting\u003c/em> is anything \u003cem>but\u003c/em> black-and-white. There are many positives to Miles and Collin’s friendship, too, and it’s complicated. Miles isn’t just a caricature of a blustering, blundering white guy; for all his rough edges, his realness is redeeming. Collin is also imperfect, and he has his reasons for keeping Miles in his life.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> isn’t by any means light moviegoing fare, but Diggs and Casal manage to pull off a hilarious, fast-paced comedy adventure, thanks in large part to a very funny supporting cast and director Carlos Lopez Estrada’s striking use of visuals and physical comedy.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> is no basic gentrification allegory, where the message is plainly written on the wall. It shows human relationships at their messiest and most hilarious, and has the power to make one think critically about how one’s actions impact others on a macro and micro level.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in select theaters July 20.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The two main characters' radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block.",
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"title": "What the Complicated Friendship in ‘Blindspotting’ Reveals About Race | KQED",
"description": "The two main characters' radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block.",
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"headline": "What the Complicated Friendship in ‘Blindspotting’ Reveals About Race",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oftentimes, real life isn’t full of heroes and villains—it’s full of imperfect individuals trying to make do with imperfect circumstances, and wounding each other in the process. That’s a sentiment that comes across beautifully and poetically in \u003cem>Blindspotting\u003c/em>, a new film that examines a complicated friendship set to the backdrop of heightening racial tensions in an increasingly gentrifying Oakland.\u003c/p>\n\u003cp>Collin (played by co-writer Daveed Diggs) is kindhearted and quiet, and trying desperately to get through his last three days of probation without going back to jail. Miles (Diggs’ co-writer Rafael Casal) is a young dad with a comparatively stable life, but he also has an angry streak and is prone to blow-ups and confrontations. Collin is black; Miles is white. And—surprise—Collin is typically the one who faces consequences when the two best friends get in trouble, often because of Miles’s reckless behavior.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-9-HBqVbtTo'\n title='//www.youtube.com/embed/-9-HBqVbtTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through the guys’ day-to-day work as movers, \u003cem>Blindspotting\u003c/em> does a brilliant job showing gentrification as an ongoing process; they help an art gallery owner pack up his space, and clear out an old Victorian where a black family used to live. The film doesn’t let the viewer escape the sobering realities of the housing crisis, but the two friends’ quick-witted back-and-forth provides much-needed comic relief throughout. The culture clashes between new and old Oakland—like the guys’ friend Dez (Jon Chaffin), whose side hustles include driving for Uber and selling illegal guns, or the $10 green juice at the liquor store—are some of the funniest parts of the movie.\u003c/p>\n\u003cp>But the film’s humor often functions as laughter to keep from crying, and Collin and Miles’s radically different journeys navigating their hipster-fying city illuminate great truths about race in Oakland—and other cities in America where homeless encampments and craft cocktail bars exist on the same block. In a way, \u003cem>Blindspotting\u003c/em> is like a controlled study. Miles and Collin come from similar class backgrounds, went to the same schools and even have the same job. But their different ethnicities drastically alter how they’re treated and perceived, and the tension that grows between them as their lives change is one of the dark comedy’s most emotionally poignant threads.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miles, the white friend, strives to fit in with the mostly black community he grew up in. With his slang, grill and neck tattoo, some people read him as a poser, so he constantly feels the need to prove that he’s really from The Town.\u003c/p>\n\u003cp>But despite his unquestionable Oakland cred, there are telling moments where Miles’s whiteness makes him blind to, and sometimes callous towards, other characters’ struggles—struggles that don’t directly affect him because of his race.\u003c/p>\n\u003cp>One of these crucial scenes happens when Collin comes over to Miles’s place to tell him that he witnessed a police officer kill a young, black man on his drive home the day before. Miles brushes him off and quickly goes back to roughhousing with his son, Sean. “I’m a tough guy! I’m a tough guy,” Miles makes his kid repeat while egging him on to pummel Uncle Collin with punches.\u003c/p>\n\u003cp>Miles seems oblivious to the intense emotions Collin is dealing with after witnessing the murder; to him, it’s just one of many police shootings that have made headlines in recent years. His lack of sensitivity is apparent throughout the film. Later, when watching the news about the shooting, Miles loudly talks over his girlfriend, Ashley (Jasmine Cephas Jones), who is black, as she’s processing the racialized violence on screen. The moment is quick and subtle, maybe not enough to call Miles out if you were in the room. But as the film progresses, a distinct pattern of behavior emerges, and tensions between Miles and Collin reach a fever pitch.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though Miles and Collin work together every day, their lives exist largely on parallel, separate tracks. As the clock counts down to the end of his probation, Collin is paranoid that he’ll find himself in the wrong place at the wrong time and wind up back in the system. The film poignantly articulates the tension behind every move he makes; how a police car driving by at night might not be as big a deal to a white person without a record, but, to Collin, elicits hair-raising, heart-palpitating fear that he’ll lose everything if he makes one false move. Characters like Collin’s halfway house supervisor articulate the words “convicted felon” with gravity, as if it’s a brand, a weight, that Collin must now bear.\u003c/p>\n\u003cp>Meanwhile, Miles has a chip on his shoulder because he sometimes gets mistaken for a white gentrifier. It’s easy to empathize with his anger that his city is changing; its culture and history are being erased; and fellow Oakland natives all around him are losing their homes. But the ignorant ways Miles goes about acting out his righteous anger only expose more of his blind spots about race.\u003c/p>\n\u003cp>While Miles’s worst fear is that he’ll be mistaken for a newcomer with a tech job, Collin is afraid that a paranoid white person stereotyping him as the “big, black guy with dreads” (as one character describes him) could cost him his freedom, or even his life.\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these clashes of black and white, \u003cem>Blindspotting\u003c/em> is anything \u003cem>but\u003c/em> black-and-white. There are many positives to Miles and Collin’s friendship, too, and it’s complicated. Miles isn’t just a caricature of a blustering, blundering white guy; for all his rough edges, his realness is redeeming. Collin is also imperfect, and he has his reasons for keeping Miles in his life.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> isn’t by any means light moviegoing fare, but Diggs and Casal manage to pull off a hilarious, fast-paced comedy adventure, thanks in large part to a very funny supporting cast and director Carlos Lopez Estrada’s striking use of visuals and physical comedy.\u003c/p>\n\u003cp>\u003cem>Blindspotting\u003c/em> is no basic gentrification allegory, where the message is plainly written on the wall. It shows human relationships at their messiest and most hilarious, and has the power to make one think critically about how one’s actions impact others on a macro and micro level.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in select theaters July 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Blindspotting' is a Spot-On Portrait of an Oakland in Flux",
"headTitle": "‘Blindspotting’ is a Spot-On Portrait of an Oakland in Flux | KQED",
"content": "\u003cp>For Oakland natives, the conversation these days is less about what high-rise is going up where: instead, it’s geared towards how these new buildings further fuel gentrification.\u003c/p>\n\u003cp>In 2017, the City of Oakland issued permits for \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=3517396&GUID=4A2D558C-DE95-4282-8480-0998A7498256&Options=ID%7CText%7CAttachments%7COther%7C&Search=housing+element\" target=\"_blank\" rel=\"noopener noreferrer\">4,284 total units\u003c/a>, with only 324 units falling under affordable housing. This ongoing trend has changed The Town’s demographics over the past decade. For those who do not live here anymore—whether they chose to move away or were forced out—coming home is always a shocking sight, far more so than to residents who see the changes daily.\u003c/p>\n\u003cp>Oakland’s gentrification serves as the backdrop in \u003cem>Blindspotting\u003c/em>. Co-written by and starring Oakland natives Rafael Casal and Daveed Diggs, the new film explores the intersection of race, class and police brutality while telling the story of two friends, Miles and Collin, and how they navigate their daily lives. Collin (Diggs) is a convicted felon with three days left on parole, and Miles (Casal) is his hot-headed childhood friend who might jeopardize his freedom. The movie comes out Friday, July 20.\u003c/p>\n\u003cp>https://youtu.be/-9-HBqVbtTo\u003c/p>\n\u003cp>With this impressive big-screen debut, Casal and Diggs have come a long way since they met at Berkeley High School, later working on music and uploading videos videos to Casal’s \u003ca href=\"https://www.youtube.com/watch?v=j3S-Zs3tvdY\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. Now, they live in Los Angeles, and they’ve made names for themselves outside of the Bay Area. Spoken-word poet Casal appeared on HBO’s \u003cem>Def Poetry\u003c/em>, performed and taught nationwide with YouthSpeaks (which Diggs was also a part of) and is also a two-time Brave New Voices poetry slam champion. Diggs, who raps in the group \u003ca href=\"http://www.clppng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">clipping.\u003c/a>, is best-known for his dual portrayal of Thomas Jefferson and Marquis de Lafayette in the original run of the smash-hit Broadway musical \u003cem>Hamilton\u003c/em> (his portrayal earned him a Tony Award in 2016). But he’s also landed roles in the movie \u003cem>Younger\u003c/em>, ABC’s \u003cem>Black-ish\u003c/em>, and Netflix’s \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The pair of friends worked on the \u003cem>Blindspotting\u003c/em> movie script over the past 10 years. When they first started, Diggs lived in Fruitvale, a few blocks away from where a BART Police officer gunned down Oscar Grant in 2009. From the script’s inception to now, the national conversation surrounding police brutality escalated and then fizzled out, as more and more cases became passing hashtags and officers were acquitted or not charged at all.\u003c/p>\n\u003cp>“That’s the biggest difference between the first draft of the script and where we ended up,” Diggs says. “We were trying to match the nature of the national conversation about these kinds of killings. When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg\" alt=\"Diggs and Casal play best friends who work together as movers. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diggs and Casal play best friends who work together as movers. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> is, simply put, a love letter to Oakland. A more complex way to describe it would be as a raw, poetic and timely film that accurately depicts the trials and tribulations that people of color go through in order to survive and provide for their families—especially those convicted of a crime, who served their time and are trying to rebuild their lives within a system that wants them to fail.\u003c/p>\n\u003cp>For Oaklanders, the film will feel familiar: many of the scenes take place in recognizable locations; the hella Town Biz soundtrack includes Fantastic Negrito, Mistah F.A.B and E-40; some notable locals make cameos. And then, sadly, there’s the sight of the countless homeless encampments we see on our daily commutes. The cinematography is as beautiful as it is daunting. Moviegoers get to see the gentrified parts of Oakland that newcomers are attracted to, as well as the displacement—a blind spot for some recent transplants.\u003c/p>\n\u003ch2>Contending with The Town’s changing landscape\u003c/h2>\n\u003cp>The \u003cem>Blindspotting \u003c/em>narrative stems from a life-altering moment. Collin happens to witness a police shooting that results in the death of a black man named Randall Marshall. The film follows Collin as he navigates his final days on parole while dealing with the post-traumatic effects of witnessing the shooting—not to mention Miles’ short fuse.\u003c/p>\n\u003cp>A powerful scene shows Collin on his daily run through the Mountain View Cemetery the day after witnessing the police killing. Still disturbed from the incident, Collin begins to hallucinate and sees black men, dressed in black, standing in front of each grave he runs past. Once he reaches the the top of the hill, the last face he sees is that of a bloody Marshall.\u003c/p>\n\u003cp>“It’s Collin finally seeing where he is, and seeing himself in it,” Casal says. “The whole film, he’s realizing how similar he is to the person he saw that died, and how inevitable it feels. I think that inevitability is the PTSD. It’s the torture that it feels like everything is conspiring towards his death, because to a certain degree, it is. The probation system is hell bent on sending you back to prison. Police are policing and murdering black men at a higher rate.”\u003c/p>\n\u003cfigure id=\"attachment_13837241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg\" alt=\"Collin (Daveed Diggs) and Val (Janina Gavankar) in 'Blindspotting.'\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1200x668.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Collin (Daveed Diggs) and Val (Janina Gavankar) in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> does an exceptional job explaining how gentrification affects people of color who have called Oakland home for generations. Rents have sky-rocketed in recent years. (Finance site Walletwyse released a \u003ca href=\"https://www.walletwyse.com/articles/worldwide-rental-price-index/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> last week determining that Oakland has the fifth highest average rent in the world, tied with Hong Kong.) In the film, Collin and Miles work as movers, and every day as part of their job, they see how gentrification reshapes Oakland’s landscape, both structurally and racially.\u003c/p>\n\u003cp>One day, they clear “junk” out of a house in West Oakland that’s scheduled to be renovated—a house where a black family once resided. While clearing stuff out, Collin comes across a broken picture frame and a photo album; this sentimental moment makes it all the more real that this now-gutted Victorian was recently someone’s home.\u003c/p>\n\u003cp>The next day, the two friends help the owner of an art gallery move out of his space. The owner chit-chats with Collin and Miles about displacement as they pack black-and-white frames showing oak trees superimposed onto images of houses and freeways all around Oakland. “They are chopping us down,” the gallery owner tells Collin and Miles as a reference to displacement—just like oak trees were chopped down to make way for development.\u003c/p>\n\u003cp>This scene is not a far cry from what is happening today in Oakland, with West Oakland’s Alena Museum, a creative space for people of the African diaspora, \u003ca href=\"https://www.eastbaytimes.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">currently facing eviction\u003c/a>.\u003c/p>\n\u003cp>Oak trees are an important element throughout the film. The setting of one of the film’s most climactic clashes between new and old Oakland is a modern, slick house stuck between two older Victorians. The home, Casal points out, was built around a dead oak tree. In one of the scenes, the homeowner proudly shows off his coffee table, an actual oak tree stump.\u003c/p>\n\u003cp>“We wrote this oak tree stump as sort of a punchline of this parallel between the clearing out of oak trees and the clearing out of poor people of color,” Casal says.\u003c/p>\n\u003cp>He and Diggs were shocked to learn that their punchline was, in fact, not far from reality.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fight to preserve Oakland culture continues\u003c/h2>\n\u003cp>For Casal and Diggs, coming back to Oakland as visitors makes the city’s changes seem drastic—more so for them than to those who still live in Oakland and see it every day with a degree of numbness. They mention Merritt Bakery—Diggs recently posted a picture on Instagram of the duo in front of the historic eatery with the caption, “Learning to cope with change.”\u003c/p>\n\u003cp>Merritt Bakery was an iconic restaurant that served the Oakland community for over 60 years and shut down due to a fire in 2013. It then moved into the small space that was once occupied by Kwik Way Drive-In, seen in the opening sequence of \u003cem>Blindspotting\u003c/em>. (The movie takes place in a present-day, alternate Oakland, where the shuttered fast-food joint has turned into a hipster eatery.)\u003c/p>\n\u003cp>“New folks are ignoring locals, and locals are growing more and more furious and fed up with people coming in,” Casal says. “There’s tension, going into bars, going into certain restaurants—you can feel the anger on people, even when they are not vocal about it. Who are these people who’ve come in and thrown off the ecosystem, and are pushing us all out?”\u003c/p>\n\u003cp>In the film, Miles is vocal about his discontent with the changes around The Town. He has to eat a vegan burger at the newly reopened Kwik Way. He finds a fridge full of $10 green juices at his local liquor store. He gets upset at a newcomer whose car blocks Miles and Collin into a parking space with the moving truck. He laments how Oakland police officers are not from and don’t live in Oakland. (\u003ca href=\"https://www.eastbayexpress.com/oakland/black-and-female-recruits-missing-from-latest-oakland-police-academy/Content?oid=15456858\" target=\"_blank\" rel=\"noopener noreferrer\">Forty percent\u003c/a> of Oakland Police Department cops are white and nine out of 10 officers live outside of Oakland, with many in primarily white suburbs miles away.)\u003c/p>\n\u003cp>The situations that Miles and Collin experience throughout the film are vivid, all-too-true reminders of what Oaklanders see in their daily lives. For Casal and Diggs, gentrification enters conversations whenever they’re in Oakland hanging out with friends, as was the case when they visited recently to promote the film. “We were talking about where to go, and people were like, ‘This spot is still cool on this day of the week, we should go there.’ Or, ‘Nah, let’s not go there.’ We know what ‘nah’ means,” Casal says. “It means new people.”\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastic Negrito, who is featured on the \u003cem>Blindspotting\u003c/em> soundtrack, often talks about building a bridge between the old, pre-gentrification Oakland and the new Oakland taken over by the wealthy. Is it possible to build such a bridge? “I think it’s possible, and actually, I think new people would prefer that,” Diggs says. “I don’t know how—a lot is legislative control over the market, of how you are allowed to charge folks to live here. There are people who can’t compete with folks coming in from somewhere else.”\u003c/p>\n\u003cp>Casal is less optimistic. “It’s not gonna happen,” he says.\u003c/p>\n\u003cp>Diggs says he feels like a gentrifier himself whenever he moves somewhere new. When he moved to New York, he chose to live in Washington Heights, a quickly changing neighborhood in Manhattan. “It’s a beautiful neighborhood with so many great things,” Diggs says. “There are two ways that you can move into that neighborhood. You can move there and check off the boxes: close to the subway, checked; a Starbucks on the corner, OK, checked; I have all the things I need to feel comfortable, and not have to change anything about myself. Or, you can move in there excited to participate and learn about a culture that you know nothing about. You can approach it by being a productive partner in this community—that’s a good way to move in to a place.”\u003c/p>\n\u003cp>The film’s themes of gentrification will likely resonate with audiences across the country. But \u003cem>Blindspotting\u003c/em> also serves as a time capsule of the current, ongoing battle in Oakland.\u003c/p>\n\u003cp>“We need you to tell the story of this place,” Diggs says, calling on native Oaklanders who remain rooted in The Town. “It becomes harder to tear something down when it’s in the national consciousness. They’re never gonna tear down the Washington Monument—they have to keep updating that shit every year because we know it’s there. I want that to be Oakland. I want all those Victorians to be so ingrained in people’s minds, so they wouldn’t dare tear them down. I want the barbecue around the lake to continue to get bigger as protest, as a reclaiming of space. I want all that.”\u003c/p>\n\u003cp>“The more you tell the story, the more people will recognize that they are building on top of something that already exists,” Diggs continues. “This isn’t a clean slate, you don’t get to come in here and [pretend] there are no consequences to your actions.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in theaters July 20.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Oakland natives, the conversation these days is less about what high-rise is going up where: instead, it’s geared towards how these new buildings further fuel gentrification.\u003c/p>\n\u003cp>In 2017, the City of Oakland issued permits for \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=3517396&GUID=4A2D558C-DE95-4282-8480-0998A7498256&Options=ID%7CText%7CAttachments%7COther%7C&Search=housing+element\" target=\"_blank\" rel=\"noopener noreferrer\">4,284 total units\u003c/a>, with only 324 units falling under affordable housing. This ongoing trend has changed The Town’s demographics over the past decade. For those who do not live here anymore—whether they chose to move away or were forced out—coming home is always a shocking sight, far more so than to residents who see the changes daily.\u003c/p>\n\u003cp>Oakland’s gentrification serves as the backdrop in \u003cem>Blindspotting\u003c/em>. Co-written by and starring Oakland natives Rafael Casal and Daveed Diggs, the new film explores the intersection of race, class and police brutality while telling the story of two friends, Miles and Collin, and how they navigate their daily lives. Collin (Diggs) is a convicted felon with three days left on parole, and Miles (Casal) is his hot-headed childhood friend who might jeopardize his freedom. The movie comes out Friday, July 20.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-9-HBqVbtTo'\n title='//www.youtube.com/embed/-9-HBqVbtTo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this impressive big-screen debut, Casal and Diggs have come a long way since they met at Berkeley High School, later working on music and uploading videos videos to Casal’s \u003ca href=\"https://www.youtube.com/watch?v=j3S-Zs3tvdY\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube channel\u003c/a>. Now, they live in Los Angeles, and they’ve made names for themselves outside of the Bay Area. Spoken-word poet Casal appeared on HBO’s \u003cem>Def Poetry\u003c/em>, performed and taught nationwide with YouthSpeaks (which Diggs was also a part of) and is also a two-time Brave New Voices poetry slam champion. Diggs, who raps in the group \u003ca href=\"http://www.clppng.com/\" target=\"_blank\" rel=\"noopener noreferrer\">clipping.\u003c/a>, is best-known for his dual portrayal of Thomas Jefferson and Marquis de Lafayette in the original run of the smash-hit Broadway musical \u003cem>Hamilton\u003c/em> (his portrayal earned him a Tony Award in 2016). But he’s also landed roles in the movie \u003cem>Younger\u003c/em>, ABC’s \u003cem>Black-ish\u003c/em>, and Netflix’s \u003cem>Unbreakable Kimmy Schmidt\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The pair of friends worked on the \u003cem>Blindspotting\u003c/em> movie script over the past 10 years. When they first started, Diggs lived in Fruitvale, a few blocks away from where a BART Police officer gunned down Oscar Grant in 2009. From the script’s inception to now, the national conversation surrounding police brutality escalated and then fizzled out, as more and more cases became passing hashtags and officers were acquitted or not charged at all.\u003c/p>\n\u003cp>“That’s the biggest difference between the first draft of the script and where we ended up,” Diggs says. “We were trying to match the nature of the national conversation about these kinds of killings. When Oscar Grant was murdered, there were riots and protests; Oscar’s face was on all the shirts; there was 24-hour news cycle about it. Flash forward to now, every time one of these [killings] happens, it’s just another body on the pile.”\u003c/p>\n\u003cfigure id=\"attachment_13837233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837233\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg\" alt=\"Diggs and Casal play best friends who work together as movers. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/044Blindspotting_252_C-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Diggs and Casal play best friends who work together as movers. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> is, simply put, a love letter to Oakland. A more complex way to describe it would be as a raw, poetic and timely film that accurately depicts the trials and tribulations that people of color go through in order to survive and provide for their families—especially those convicted of a crime, who served their time and are trying to rebuild their lives within a system that wants them to fail.\u003c/p>\n\u003cp>For Oaklanders, the film will feel familiar: many of the scenes take place in recognizable locations; the hella Town Biz soundtrack includes Fantastic Negrito, Mistah F.A.B and E-40; some notable locals make cameos. And then, sadly, there’s the sight of the countless homeless encampments we see on our daily commutes. The cinematography is as beautiful as it is daunting. Moviegoers get to see the gentrified parts of Oakland that newcomers are attracted to, as well as the displacement—a blind spot for some recent transplants.\u003c/p>\n\u003ch2>Contending with The Town’s changing landscape\u003c/h2>\n\u003cp>The \u003cem>Blindspotting \u003c/em>narrative stems from a life-altering moment. Collin happens to witness a police shooting that results in the death of a black man named Randall Marshall. The film follows Collin as he navigates his final days on parole while dealing with the post-traumatic effects of witnessing the shooting—not to mention Miles’ short fuse.\u003c/p>\n\u003cp>A powerful scene shows Collin on his daily run through the Mountain View Cemetery the day after witnessing the police killing. Still disturbed from the incident, Collin begins to hallucinate and sees black men, dressed in black, standing in front of each grave he runs past. Once he reaches the the top of the hill, the last face he sees is that of a bloody Marshall.\u003c/p>\n\u003cp>“It’s Collin finally seeing where he is, and seeing himself in it,” Casal says. “The whole film, he’s realizing how similar he is to the person he saw that died, and how inevitable it feels. I think that inevitability is the PTSD. It’s the torture that it feels like everything is conspiring towards his death, because to a certain degree, it is. The probation system is hell bent on sending you back to prison. Police are policing and murdering black men at a higher rate.”\u003c/p>\n\u003cfigure id=\"attachment_13837241\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837241\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg\" alt=\"Collin (Daveed Diggs) and Val (Janina Gavankar) in 'Blindspotting.'\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-800x445.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-160x89.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-768x428.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1020x568.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1200x668.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1920x1069.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1180x657.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-960x534.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-1038x576.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-240x134.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-375x209.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2-520x289.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/BSG_165_C2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Collin (Daveed Diggs) and Val (Janina Gavankar) in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Blindspotting\u003c/em> does an exceptional job explaining how gentrification affects people of color who have called Oakland home for generations. Rents have sky-rocketed in recent years. (Finance site Walletwyse released a \u003ca href=\"https://www.walletwyse.com/articles/worldwide-rental-price-index/\" target=\"_blank\" rel=\"noopener noreferrer\">study\u003c/a> last week determining that Oakland has the fifth highest average rent in the world, tied with Hong Kong.) In the film, Collin and Miles work as movers, and every day as part of their job, they see how gentrification reshapes Oakland’s landscape, both structurally and racially.\u003c/p>\n\u003cp>One day, they clear “junk” out of a house in West Oakland that’s scheduled to be renovated—a house where a black family once resided. While clearing stuff out, Collin comes across a broken picture frame and a photo album; this sentimental moment makes it all the more real that this now-gutted Victorian was recently someone’s home.\u003c/p>\n\u003cp>The next day, the two friends help the owner of an art gallery move out of his space. The owner chit-chats with Collin and Miles about displacement as they pack black-and-white frames showing oak trees superimposed onto images of houses and freeways all around Oakland. “They are chopping us down,” the gallery owner tells Collin and Miles as a reference to displacement—just like oak trees were chopped down to make way for development.\u003c/p>\n\u003cp>This scene is not a far cry from what is happening today in Oakland, with West Oakland’s Alena Museum, a creative space for people of the African diaspora, \u003ca href=\"https://www.eastbaytimes.com/2018/06/17/gallery-supporting-black-artists-fighting-eviction-from-west-oakland-warehouse/\" target=\"_blank\" rel=\"noopener noreferrer\">currently facing eviction\u003c/a>.\u003c/p>\n\u003cp>Oak trees are an important element throughout the film. The setting of one of the film’s most climactic clashes between new and old Oakland is a modern, slick house stuck between two older Victorians. The home, Casal points out, was built around a dead oak tree. In one of the scenes, the homeowner proudly shows off his coffee table, an actual oak tree stump.\u003c/p>\n\u003cp>“We wrote this oak tree stump as sort of a punchline of this parallel between the clearing out of oak trees and the clearing out of poor people of color,” Casal says.\u003c/p>\n\u003cp>He and Diggs were shocked to learn that their punchline was, in fact, not far from reality.\u003c/p>\n\u003cfigure id=\"attachment_13837242\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837242\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg\" alt=\"Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in 'Blindspotting.'\" width=\"800\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-800x433.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1200x649.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-1180x638.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-960x519.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-240x130.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-375x203.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/014BSG_074_C-520x281.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Ziggy Baitinger as Sean and Jasmine Cephas Jones as Ashley in ‘Blindspotting.’ \u003ccite>(Robby Baumgartner)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The fight to preserve Oakland culture continues\u003c/h2>\n\u003cp>For Casal and Diggs, coming back to Oakland as visitors makes the city’s changes seem drastic—more so for them than to those who still live in Oakland and see it every day with a degree of numbness. They mention Merritt Bakery—Diggs recently posted a picture on Instagram of the duo in front of the historic eatery with the caption, “Learning to cope with change.”\u003c/p>\n\u003cp>Merritt Bakery was an iconic restaurant that served the Oakland community for over 60 years and shut down due to a fire in 2013. It then moved into the small space that was once occupied by Kwik Way Drive-In, seen in the opening sequence of \u003cem>Blindspotting\u003c/em>. (The movie takes place in a present-day, alternate Oakland, where the shuttered fast-food joint has turned into a hipster eatery.)\u003c/p>\n\u003cp>“New folks are ignoring locals, and locals are growing more and more furious and fed up with people coming in,” Casal says. “There’s tension, going into bars, going into certain restaurants—you can feel the anger on people, even when they are not vocal about it. Who are these people who’ve come in and thrown off the ecosystem, and are pushing us all out?”\u003c/p>\n\u003cp>In the film, Miles is vocal about his discontent with the changes around The Town. He has to eat a vegan burger at the newly reopened Kwik Way. He finds a fridge full of $10 green juices at his local liquor store. He gets upset at a newcomer whose car blocks Miles and Collin into a parking space with the moving truck. He laments how Oakland police officers are not from and don’t live in Oakland. (\u003ca href=\"https://www.eastbayexpress.com/oakland/black-and-female-recruits-missing-from-latest-oakland-police-academy/Content?oid=15456858\" target=\"_blank\" rel=\"noopener noreferrer\">Forty percent\u003c/a> of Oakland Police Department cops are white and nine out of 10 officers live outside of Oakland, with many in primarily white suburbs miles away.)\u003c/p>\n\u003cp>The situations that Miles and Collin experience throughout the film are vivid, all-too-true reminders of what Oaklanders see in their daily lives. For Casal and Diggs, gentrification enters conversations whenever they’re in Oakland hanging out with friends, as was the case when they visited recently to promote the film. “We were talking about where to go, and people were like, ‘This spot is still cool on this day of the week, we should go there.’ Or, ‘Nah, let’s not go there.’ We know what ‘nah’ means,” Casal says. “It means new people.”\u003c/p>\n\u003cfigure id=\"attachment_13837237\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837237\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg\" alt=\"Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in 'Blindspotting.'\" width=\"800\" height=\"431\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-800x431.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-768x414.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1020x549.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1200x646.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-1180x635.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-960x517.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-240x129.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-375x202.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/002Blindspotting_002_C-520x280.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rafael Casal as Miles, Daveed Diggs as Collin and Jon Chaffin as Dez in ‘Blindspotting.’ \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Fantastic Negrito, who is featured on the \u003cem>Blindspotting\u003c/em> soundtrack, often talks about building a bridge between the old, pre-gentrification Oakland and the new Oakland taken over by the wealthy. Is it possible to build such a bridge? “I think it’s possible, and actually, I think new people would prefer that,” Diggs says. “I don’t know how—a lot is legislative control over the market, of how you are allowed to charge folks to live here. There are people who can’t compete with folks coming in from somewhere else.”\u003c/p>\n\u003cp>Casal is less optimistic. “It’s not gonna happen,” he says.\u003c/p>\n\u003cp>Diggs says he feels like a gentrifier himself whenever he moves somewhere new. When he moved to New York, he chose to live in Washington Heights, a quickly changing neighborhood in Manhattan. “It’s a beautiful neighborhood with so many great things,” Diggs says. “There are two ways that you can move into that neighborhood. You can move there and check off the boxes: close to the subway, checked; a Starbucks on the corner, OK, checked; I have all the things I need to feel comfortable, and not have to change anything about myself. Or, you can move in there excited to participate and learn about a culture that you know nothing about. You can approach it by being a productive partner in this community—that’s a good way to move in to a place.”\u003c/p>\n\u003cp>The film’s themes of gentrification will likely resonate with audiences across the country. But \u003cem>Blindspotting\u003c/em> also serves as a time capsule of the current, ongoing battle in Oakland.\u003c/p>\n\u003cp>“We need you to tell the story of this place,” Diggs says, calling on native Oaklanders who remain rooted in The Town. “It becomes harder to tear something down when it’s in the national consciousness. They’re never gonna tear down the Washington Monument—they have to keep updating that shit every year because we know it’s there. I want that to be Oakland. I want all those Victorians to be so ingrained in people’s minds, so they wouldn’t dare tear them down. I want the barbecue around the lake to continue to get bigger as protest, as a reclaiming of space. I want all that.”\u003c/p>\n\u003cp>“The more you tell the story, the more people will recognize that they are building on top of something that already exists,” Diggs continues. “This isn’t a clean slate, you don’t get to come in here and [pretend] there are no consequences to your actions.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Blindspotting \u003cem>opens in theaters July 20.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
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"title": "Code Switch / Life Kit",
"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"
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"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",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"meta": {
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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"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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