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"content": "\u003cp>Time is a tricky variable when creating art. Some ideas take years to fully mature. Others happen with a random stroke of genius.\u003c/p>\n\u003cp>For composer \u003ca href=\"https://www.instagram.com/damani31/?hl=en\">Damani Rhodes\u003c/a>, vocalist \u003ca href=\"https://www.instagram.com/vadiahub/?hl=en\">Vadia\u003c/a> and poet \u003ca href=\"https://www.instagram.com/_tongogara_/?hl=en\">Tongo Eisen-Martin\u003c/a>, it took a combination of brief stints and long breaks — seven years total — to complete their just-released album, \u003ca href=\"https://music.empi.re/travelingshoes\">\u003cem>Traveling Shoes\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>A 33-minute soundscape of poetic phrases, harmonic piano keys and soulful vocals, \u003cem>Traveling Shoes\u003c/em> features guest appearances from \u003ca href=\"https://ajamonet.com/\">Aja Monet\u003c/a>, \u003ca href=\"https://saulwilliams.com/\">Saul Williams\u003c/a> and the East Bay’s own renowned flutist \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a>.\u003c/p>\n\u003cp>“This is a body of work that I’m proud of,” says Damani Rhodes during a recent phone call. “I know Tongo’s proud of it,” he adds, and his wife and partner in production, Vadia, says she’s very proud of it too.\u003c/p>\n\u003cp>So proud, in fact, that \u003ca href=\"https://www.ticketleap.events/tickets/dvtlive/traveling-shoes-live-recording?fbclid=PAZnRzaANSTYxleHRuA2FlbQIxMQABp2MbcY2OCNBmAJKcdV2pWBZCtfv3o3QJUCrxq4D1VcWD4i8d6Cct1xtbV1Kw_aem_Jq_z9FRMssJoiviJq5fpMA\">on Oct. 18 the trio plans to record a live version of the album\u003c/a> during a ticketed performance at \u003ca href=\"https://www.tinytelephone.com/\">Tiny Telephone Studios\u003c/a> in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13982261\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-scaled.jpg\" alt=\"A silhouette image of three people standing in an old train station.\" width=\"2560\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-2000x1055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-2048x1080.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from the video for the song ‘Traveling Shoes,’ filmed at West Oakland’s Historic 16th Street Train Station. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story of the album starts back in 2018, when Tongo and Damani were introduced through a former director at the Yerba Buena Center for the Arts, \u003ca href=\"https://www.kqed.org/forum/201110181000/first-person-marc-bamuthi-joseph\">Marc Bamuthi Joseph\u003c/a>. He insisted that Tongo and Damani, both \u003ca href=\"https://www.kqed.org/arts/13836799/janet-mock-steve-kerr-rafael-casal-and-more-on-this-years-ybca-100-list\">YBCA 100\u003c/a> honorees, perform live together at a celebratory gala — without a lot of time to practice.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They met for the first time at soundcheck the night before. Yet as soon as Damani and his band \u003ca href=\"https://www.instagram.com/minoyanci/\">Mino Yanci\u003c/a> started playing, Tongo began reciting poetry. Something clicked. “I wasn’t even a guy that was really into poems, if I’m honest,” admits Damani. “But when I heard him, all of a sudden, I was into poems.”\u003c/p>\n\u003cp>Realizing they’d stumbled onto something, Damani extended an invite for Tongo to meet up again at Zoo Labs studio in West Oakland. From that five-hour session came a smattering of ideas; recorded concepts that grew into songs, like the album’s first track, “Not A Poem.”\u003c/p>\n\u003cp>Damani took the tracks home and continued to work on them, including one that would eventually become the lead single, “Nature of The World.”\u003c/p>\n\u003cfigure id=\"attachment_13982262\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982262\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA.jpg\" alt=\"A blurry portrait of a man in a white shirt walking down the street on a sunny day.\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Poet and author Tongo Eisen-Martin on the set of the video for ‘The Nature of the World.’ \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tongo opens the song by saying, “A, you know, a whole of God can happen in three seconds, not much heaven tho.” As he lays bars, Damani’s keys and Vadia’s vocal harmonizing set a soulful tone.\u003c/p>\n\u003cp>Tongo, an acclaimed author and former San Francisco Poet Laureate, proceeds to paint a picture of the current state of society. Highlighting “the wire hanger empire” and the perseverance it takes to survive in this world, he says “I’m going to make it, even if I have to drive backwards.”\u003c/p>\n\u003cp>He poetically flips reality, convincing the listener that “running water is a myth”; instead, he says, we’re the ones moving all around it. At the end of the piece, he goes further into reshaping people’s perspectives, asking the audience to let go of the four walls that surround them in an effort to accept the ever-present heaven that exists in the universe.\u003c/p>\n\u003cfigure id=\"attachment_13982263\" class=\"wp-caption aligncenter\" style=\"max-width: 1917px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982263\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283.jpg\" alt=\"A drummer plays overlooking the Golden Gate Bridge.\" width=\"1917\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283.jpg 1917w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283-1536x646.jpg 1536w\" sizes=\"auto, (max-width: 1917px) 100vw, 1917px\">\u003cfigcaption class=\"wp-caption-text\">A drummer named Samadhi plays overlooking the Golden Gate Bridge in the short film ‘The Nature of The World.’ \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed and produced by Benjamin “BJ” McBride and Elie M. Khadra (both worked with KQED in 2020 to produce the award-winning film \u003cem>Dear Beloved\u003c/em>), the accompanying short video for “Nature of The World” shows Twin Peaks, Treasure Island and close-ups of Tongo near Golden Gate Park, as well as intimate shots of Damani and Vadia embracing.\u003c/p>\n\u003cp>The climax of the video shows Vadia going through the process of childbirth, a visual that, like the album itself, was all a matter of timing. Pregnant when she was presented with the film’s treatment in early 2024, Vadia says a doctor’s visit revealed that the baby might come early, turning production plans into a mad dash.\u003c/p>\n\u003cp>“Everything is set: the cameras are ready, and all the lighting and the locations,” Vadia recalls. “I was trying on the outfits for the video,” she says, “and then I get a call that my father passed away.”\u003c/p>\n\u003cp>Pastor Essex Hubbard of Sacramento’s Saint James Holy Missionary Baptist Church was 68 years old. Roughly two weeks later, Vadia gave birth to her and Damani’s daughter, Eloura.\u003c/p>\n\u003cp>And in the midst of everything, they filmed.\u003c/p>\n\u003cfigure id=\"attachment_13982264\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-scaled.jpg\" alt=\"A woman wearing a yellow shirt and hair wrap stands behind a hand, arms around his shoulders in an embrace, as they pose for a photo.\" width=\"2560\" height=\"1073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-2000x838.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-2048x858.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Singer Vadia and composer Damani Rhodes on the set of the short film ‘The Nature of The World.’ \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Coming from an artistic family,” Vadia says, “we all felt like it was OK to move forward with completing the project that we had started.”\u003c/p>\n\u003cp>On the album’s title track, inspired by a hymn, Vadia sings, “I’ve got my traveling shows on / I’m headed to my new home / And if you want to go with me, it’s too late, too late, too late / I’m already gone.”\u003c/p>\n\u003cp>With vocal tones she learned as child while singing in church with her siblings and father, the recording at Tiny Telephone Studios was “one of those magic points” that happen during a studio session, Vadia says.\u003c/p>\n\u003cp>Reflecting on the seven-year process of making \u003cem>Traveling Shoes\u003c/em>, Damani says, “We had the time to grow into the people that we needed to be to make it. Because if we would have finished this in 2018, it would not be this project. It would be something else.”\u003c/p>\n\u003cp>“We already had good seed in the ground… now is the time where it’s sprouting,” Vadia adds. “Rain happens, and then things grow.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin, Vadia and Damani Rhodes record a live version of their album ‘Traveling Shoes’ on Saturday, Oct. 18, in front of a live audience at \u003ca href=\"https://www.tinytelephone.com/\">Tiny Telephone Studios\u003c/a> (5765 Lowell St., Oakland). \u003ca href=\"https://www.ticketleap.events/tickets/dvtlive/traveling-shoes-live-recording\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Time is a tricky variable when creating art. Some ideas take years to fully mature. Others happen with a random stroke of genius.\u003c/p>\n\u003cp>For composer \u003ca href=\"https://www.instagram.com/damani31/?hl=en\">Damani Rhodes\u003c/a>, vocalist \u003ca href=\"https://www.instagram.com/vadiahub/?hl=en\">Vadia\u003c/a> and poet \u003ca href=\"https://www.instagram.com/_tongogara_/?hl=en\">Tongo Eisen-Martin\u003c/a>, it took a combination of brief stints and long breaks — seven years total — to complete their just-released album, \u003ca href=\"https://music.empi.re/travelingshoes\">\u003cem>Traveling Shoes\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>A 33-minute soundscape of poetic phrases, harmonic piano keys and soulful vocals, \u003cem>Traveling Shoes\u003c/em> features guest appearances from \u003ca href=\"https://ajamonet.com/\">Aja Monet\u003c/a>, \u003ca href=\"https://saulwilliams.com/\">Saul Williams\u003c/a> and the East Bay’s own renowned flutist \u003ca href=\"https://www.kqed.org/arts/13931138/liner-notes-flutist-and-vocalist-elena-pinderhughes-is-limitless\">Elena Pinderhughes\u003c/a>.\u003c/p>\n\u003cp>“This is a body of work that I’m proud of,” says Damani Rhodes during a recent phone call. “I know Tongo’s proud of it,” he adds, and his wife and partner in production, Vadia, says she’s very proud of it too.\u003c/p>\n\u003cp>So proud, in fact, that \u003ca href=\"https://www.ticketleap.events/tickets/dvtlive/traveling-shoes-live-recording?fbclid=PAZnRzaANSTYxleHRuA2FlbQIxMQABp2MbcY2OCNBmAJKcdV2pWBZCtfv3o3QJUCrxq4D1VcWD4i8d6Cct1xtbV1Kw_aem_Jq_z9FRMssJoiviJq5fpMA\">on Oct. 18 the trio plans to record a live version of the album\u003c/a> during a ticketed performance at \u003ca href=\"https://www.tinytelephone.com/\">Tiny Telephone Studios\u003c/a> in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13982261\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982261\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-scaled.jpg\" alt=\"A silhouette image of three people standing in an old train station.\" width=\"2560\" height=\"1350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-2000x1055.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-768x405.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-1536x810.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/20-2048x1080.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A still from the video for the song ‘Traveling Shoes,’ filmed at West Oakland’s Historic 16th Street Train Station. \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The story of the album starts back in 2018, when Tongo and Damani were introduced through a former director at the Yerba Buena Center for the Arts, \u003ca href=\"https://www.kqed.org/forum/201110181000/first-person-marc-bamuthi-joseph\">Marc Bamuthi Joseph\u003c/a>. He insisted that Tongo and Damani, both \u003ca href=\"https://www.kqed.org/arts/13836799/janet-mock-steve-kerr-rafael-casal-and-more-on-this-years-ybca-100-list\">YBCA 100\u003c/a> honorees, perform live together at a celebratory gala — without a lot of time to practice.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They met for the first time at soundcheck the night before. Yet as soon as Damani and his band \u003ca href=\"https://www.instagram.com/minoyanci/\">Mino Yanci\u003c/a> started playing, Tongo began reciting poetry. Something clicked. “I wasn’t even a guy that was really into poems, if I’m honest,” admits Damani. “But when I heard him, all of a sudden, I was into poems.”\u003c/p>\n\u003cp>Realizing they’d stumbled onto something, Damani extended an invite for Tongo to meet up again at Zoo Labs studio in West Oakland. From that five-hour session came a smattering of ideas; recorded concepts that grew into songs, like the album’s first track, “Not A Poem.”\u003c/p>\n\u003cp>Damani took the tracks home and continued to work on them, including one that would eventually become the lead single, “Nature of The World.”\u003c/p>\n\u003cfigure id=\"attachment_13982262\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982262\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA.jpg\" alt=\"A blurry portrait of a man in a white shirt walking down the street on a sunny day.\" width=\"1600\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/IVkYP2XA-1536x643.jpg 1536w\" sizes=\"auto, (max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Poet and author Tongo Eisen-Martin on the set of the video for ‘The Nature of the World.’ \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tongo opens the song by saying, “A, you know, a whole of God can happen in three seconds, not much heaven tho.” As he lays bars, Damani’s keys and Vadia’s vocal harmonizing set a soulful tone.\u003c/p>\n\u003cp>Tongo, an acclaimed author and former San Francisco Poet Laureate, proceeds to paint a picture of the current state of society. Highlighting “the wire hanger empire” and the perseverance it takes to survive in this world, he says “I’m going to make it, even if I have to drive backwards.”\u003c/p>\n\u003cp>He poetically flips reality, convincing the listener that “running water is a myth”; instead, he says, we’re the ones moving all around it. At the end of the piece, he goes further into reshaping people’s perspectives, asking the audience to let go of the four walls that surround them in an effort to accept the ever-present heaven that exists in the universe.\u003c/p>\n\u003cfigure id=\"attachment_13982263\" class=\"wp-caption aligncenter\" style=\"max-width: 1917px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982263\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283.jpg\" alt=\"A drummer plays overlooking the Golden Gate Bridge.\" width=\"1917\" height=\"806\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283.jpg 1917w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/5-e1760398648283-1536x646.jpg 1536w\" sizes=\"auto, (max-width: 1917px) 100vw, 1917px\">\u003cfigcaption class=\"wp-caption-text\">A drummer named Samadhi plays overlooking the Golden Gate Bridge in the short film ‘The Nature of The World.’ \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Directed and produced by Benjamin “BJ” McBride and Elie M. Khadra (both worked with KQED in 2020 to produce the award-winning film \u003cem>Dear Beloved\u003c/em>), the accompanying short video for “Nature of The World” shows Twin Peaks, Treasure Island and close-ups of Tongo near Golden Gate Park, as well as intimate shots of Damani and Vadia embracing.\u003c/p>\n\u003cp>The climax of the video shows Vadia going through the process of childbirth, a visual that, like the album itself, was all a matter of timing. Pregnant when she was presented with the film’s treatment in early 2024, Vadia says a doctor’s visit revealed that the baby might come early, turning production plans into a mad dash.\u003c/p>\n\u003cp>“Everything is set: the cameras are ready, and all the lighting and the locations,” Vadia recalls. “I was trying on the outfits for the video,” she says, “and then I get a call that my father passed away.”\u003c/p>\n\u003cp>Pastor Essex Hubbard of Sacramento’s Saint James Holy Missionary Baptist Church was 68 years old. Roughly two weeks later, Vadia gave birth to her and Damani’s daughter, Eloura.\u003c/p>\n\u003cp>And in the midst of everything, they filmed.\u003c/p>\n\u003cfigure id=\"attachment_13982264\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13982264\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-scaled.jpg\" alt=\"A woman wearing a yellow shirt and hair wrap stands behind a hand, arms around his shoulders in an embrace, as they pose for a photo.\" width=\"2560\" height=\"1073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-2000x838.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-768x322.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-1536x644.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/10/60-1-2048x858.jpg 2048w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Singer Vadia and composer Damani Rhodes on the set of the short film ‘The Nature of The World.’ \u003ccite>(Elie M. Khadra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Coming from an artistic family,” Vadia says, “we all felt like it was OK to move forward with completing the project that we had started.”\u003c/p>\n\u003cp>On the album’s title track, inspired by a hymn, Vadia sings, “I’ve got my traveling shows on / I’m headed to my new home / And if you want to go with me, it’s too late, too late, too late / I’m already gone.”\u003c/p>\n\u003cp>With vocal tones she learned as child while singing in church with her siblings and father, the recording at Tiny Telephone Studios was “one of those magic points” that happen during a studio session, Vadia says.\u003c/p>\n\u003cp>Reflecting on the seven-year process of making \u003cem>Traveling Shoes\u003c/em>, Damani says, “We had the time to grow into the people that we needed to be to make it. Because if we would have finished this in 2018, it would not be this project. It would be something else.”\u003c/p>\n\u003cp>“We already had good seed in the ground… now is the time where it’s sprouting,” Vadia adds. “Rain happens, and then things grow.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin, Vadia and Damani Rhodes record a live version of their album ‘Traveling Shoes’ on Saturday, Oct. 18, in front of a live audience at \u003ca href=\"https://www.tinytelephone.com/\">Tiny Telephone Studios\u003c/a> (5765 Lowell St., Oakland). \u003ca href=\"https://www.ticketleap.events/tickets/dvtlive/traveling-shoes-live-recording\">Tickets and more information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jk-fowler-heurto-osos-perezosos-xalapa-mexico-artist-residency",
"title": "In Southern Mexico, Bay Area Artists Seek Refuge and Cultural Exchange",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">“Xalapa is a magical portal of colors, culture, great energy and healing. It felt like my soul knew it was right at home.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those are the words of \u003c/span>\u003ca href=\"https://www.kqed.org/forum/2010101894675/poet-mimi-tempestt-defies-and-reclaims-her-identity-in-new-book\">\u003cspan style=\"font-weight: 400\">Oakland poet Mimi Tempestt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who recently traveled to Xalapa — the capital of Veracruz, Mexico. She spent a week in the Spanish colonial city, visiting for the first time as part of a new artist residency that has taken root in the city’s downtown: \u003c/span>\u003ca href=\"https://www.huertodeososperezosos.org/\">\u003cspan style=\"font-weight: 400\">Huerto de Osos Perezosos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (“vegetable patch of the sloths”).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955339\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-scaled.jpg\" alt=\"a mural of a sloth is painted on a tall concrete wall in an outdoor garden\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A mural of a sloth (or “oso perezoso”) is painted within the arts residency compound. The mural was painted by San Francisco’s Adrian Arias, who visited Xalapa last year. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not every day that a Bay Area poet decides to visit Xalapa. I would know. It’s \u003ca href=\"https://www.latimes.com/food/story/2022-10-16/history-pickled-jalapenos-xalapa-veracruz-mexican-food\">my parents’ hometown\u003c/a>, where my mother and grandfather currently live. I’ve been there many times throughout my life, and have always enjoyed its quaint historical vibe with narrow cobblestone roads, orchid blooms and artistic ebullience. But I’ve never encountered Bay Area artists there, especially ones who aren’t Mexican.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I was delighted — and surprised — when I heard that a poetry acquaintance of mine, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13924716/nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop\">\u003cspan style=\"font-weight: 400\">J.K. Fowler\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">had relocated from the Bay to Xalapa, a place that feels hidden, tucked in the misty mountains along Mexico’s southeastern shoreline. \u003ca href=\"https://www.kqed.org/arts/13924716/nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop\">Previously, Fowler operated Nomadic Press in Oakland\u003c/a>, which was known as a grassroots hub for diverse voices until it shuttered about a year ago. (Over the years, I read my work at several of their events.) [aside postid='arts_13955195']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Fowler does, he is now working down there to connect others through his growing network of local artists — and he has a slate of Bay Area writers, muralists and multidisciplinary creators who are just beginning to enter Xalapa’s “magical portal.”\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On my recent trip to see family in Xalapa, I caught up with Fowler at his artist compound. “Consider it your second home,” he told me as we strolled through a wondrous garden where he hosts events.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you ever need chayote, you can take some from here,” he said, and I could tell he meant it.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955343\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-scaled.jpg\" alt=\"a tropical garden in southern Mexico\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of Xalapa’s biggest attractions is the verdant greenery. Within the artist residency, there are two tropical outdoor gardens. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The thing about Fowler’s vision is that it doesn’t function like a simple Airbnb might. It’s an integrated cultural exchange, in which Fowler partners with artists from the region and fosters an international dialogue through collaborations and events.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fowler also has a cafe, Bundo, which used to be located less than a 10 minute walk from the residency, and offered an array of beverages and snacks, specializing in oven-fired pizzas. He is currently in the process of moving the cafe inside of Huerto to give visiting artists an on-site dining option. (Xalapa has a heralded food scene, even by Mexico’s standards.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huerto has high ceilings and earth tones that radiate a modern, minimalist Mexican aura. The lower portion of the living space has a total of five rooms, including a dining area, lounging spaces, an office, a bedroom and a kitchen, with Fowler’s living quarters located beyond the courtyard’s garden. While touring the spacious property, I met two local artists lounging in the outdoor patio discussing their ideas in Spanish, before switching over to English to introduce themselves to me.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955341\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-scaled.jpg\" alt=\"plates of food are laid out on a wooden table\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Part of Fowler’s vision is to provide a cafe space for locals and visiting artists. At Bundo’s former location in downtown, the cafe served a variety of fresh dishes. Fowler plans to relocate Bundo. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huerto feels fresh, and full of potential. It’s a bicultural space where artists of diverse backgrounds can intermingle and inform each other’s practices. It also offers respite and privacy for those in need of a fresh environment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Visiting artists from Northern California include Tempestt (who recently published her debut book with City Lights), Keenan Norris (a novelist who received the 2022 Northern California Book Award), E.K. Keith (a San Francisco-based poet) and Adrian Arias (a Bay Area writer, painter and illustrator). \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955340\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-scaled.jpg\" alt=\"books about Oakland art are on display at a shop in Mexico\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Fowler’s mission is to create an international exchange between artists, and he shares work from Bay Area authors and painters with local Xalapeños. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (Oakland’s poet laureate) and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13916674/tongo-eisen-martin-poet-laureate-parker-occupied-school-city-lights\">\u003cspan style=\"font-weight: 400\">Tongo Eisen-Martin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (San Francisco’s poet laureate) have signed up for visits. Nzinga is planning an anthology titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Bridge\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, in which she will gather poems from authors based in both the Bay Area and Xalapa, culminating with a reading at Bundo.\u003c/span>\u003c/p>\n\u003cp>And it’s not only for Bay Area artists, either. Huerto is also a way-point for local Xalapeños and Mexican nationals from other parts of the country. In fact, Huerto’s inaugural resident was Javier Peñalosa\u003cem>, \u003c/em>a screenwriter and children’s book author from Mexico City. [aside postid='arts_13954510']\u003c/p>\n\u003cp>“The space is genuinely tranquil and inspiring,” Peñalosa wrote in Spanish on Huerto’s website. “It’s like an oasis in the heart of Xalapa,”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For first-timers in Xalapa — a small city that has virtually no foreigner presence, \u003ca href=\"https://www.latimes.com/food/story/2023-07-13/mexico-city-essay-daniel-hernandez\">unlike Mexico City with its influx of U.S. transplants \u003c/a>— the scenery and ambiance can overwhelm with its quiet positivity and reflective possibility.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955338\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-scaled.jpg\" alt=\"a quaint kitchen in Mexico \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Huerto de Osos Perezosos offers ample living space for visiting artists, including a full kitchen that is attached to an outdoor garden. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a certain synergy that artists can tap into in this off-the-radar destination, whose population is slightly larger than Oakland’s. Xalapa is ensconced in verdant greenery and often clouded and foggy like London, but with much warmer weather and tree-lined avenues where friendly women sell banana leaf-wrapped tamales. It’s the kind of unknown dimension that you might stumble into as a U.S. citizen and return from with an altered sense of gratitude.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My last night at Huerto, I walked out to the courtyard after dinner and stood in the lovely mist, and appreciated the way the lamplight fell over the compound walls and into the courtyard, beautifying the quiet, tropical scene,” Norris shared in a testimonial. “It really did feel like a caesura in time itself, a space to contemplate.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.huertodeososperezosos.org/\">\u003cspan style=\"font-weight: 400\">Huerto de Osos Perezosos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (located in Xalapa’s historic center) is available for seven-day visits with varying price ranges. Xalapa is roughly four and a half hours from Mexico City’s easternmost airport via bus, and one hour via taxi from Veracruz’s international airport.\u003c/span>\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“Xalapa is a magical portal of colors, culture, great energy and healing. It felt like my soul knew it was right at home.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Those are the words of \u003c/span>\u003ca href=\"https://www.kqed.org/forum/2010101894675/poet-mimi-tempestt-defies-and-reclaims-her-identity-in-new-book\">\u003cspan style=\"font-weight: 400\">Oakland poet Mimi Tempestt\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who recently traveled to Xalapa — the capital of Veracruz, Mexico. She spent a week in the Spanish colonial city, visiting for the first time as part of a new artist residency that has taken root in the city’s downtown: \u003c/span>\u003ca href=\"https://www.huertodeososperezosos.org/\">\u003cspan style=\"font-weight: 400\">Huerto de Osos Perezosos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (“vegetable patch of the sloths”).\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955339\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955339\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-scaled.jpg\" alt=\"a mural of a sloth is painted on a tall concrete wall in an outdoor garden\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa3-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">A mural of a sloth (or “oso perezoso”) is painted within the arts residency compound. The mural was painted by San Francisco’s Adrian Arias, who visited Xalapa last year. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not every day that a Bay Area poet decides to visit Xalapa. I would know. It’s \u003ca href=\"https://www.latimes.com/food/story/2022-10-16/history-pickled-jalapenos-xalapa-veracruz-mexican-food\">my parents’ hometown\u003c/a>, where my mother and grandfather currently live. I’ve been there many times throughout my life, and have always enjoyed its quaint historical vibe with narrow cobblestone roads, orchid blooms and artistic ebullience. But I’ve never encountered Bay Area artists there, especially ones who aren’t Mexican.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So I was delighted — and surprised — when I heard that a poetry acquaintance of mine, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13924716/nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop\">\u003cspan style=\"font-weight: 400\">J.K. Fowler\u003c/span>\u003c/a>, \u003cspan style=\"font-weight: 400\">had relocated from the Bay to Xalapa, a place that feels hidden, tucked in the misty mountains along Mexico’s southeastern shoreline. \u003ca href=\"https://www.kqed.org/arts/13924716/nomadic-press-a-chosen-family-for-queer-and-bipoc-writers-closes-up-shop\">Previously, Fowler operated Nomadic Press in Oakland\u003c/a>, which was known as a grassroots hub for diverse voices until it shuttered about a year ago. (Over the years, I read my work at several of their events.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Fowler does, he is now working down there to connect others through his growing network of local artists — and he has a slate of Bay Area writers, muralists and multidisciplinary creators who are just beginning to enter Xalapa’s “magical portal.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On my recent trip to see family in Xalapa, I caught up with Fowler at his artist compound. “Consider it your second home,” he told me as we strolled through a wondrous garden where he hosts events.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“If you ever need chayote, you can take some from here,” he said, and I could tell he meant it.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955343\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-scaled.jpg\" alt=\"a tropical garden in southern Mexico\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa7-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">One of Xalapa’s biggest attractions is the verdant greenery. Within the artist residency, there are two tropical outdoor gardens. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The thing about Fowler’s vision is that it doesn’t function like a simple Airbnb might. It’s an integrated cultural exchange, in which Fowler partners with artists from the region and fosters an international dialogue through collaborations and events.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Fowler also has a cafe, Bundo, which used to be located less than a 10 minute walk from the residency, and offered an array of beverages and snacks, specializing in oven-fired pizzas. He is currently in the process of moving the cafe inside of Huerto to give visiting artists an on-site dining option. (Xalapa has a heralded food scene, even by Mexico’s standards.) \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huerto has high ceilings and earth tones that radiate a modern, minimalist Mexican aura. The lower portion of the living space has a total of five rooms, including a dining area, lounging spaces, an office, a bedroom and a kitchen, with Fowler’s living quarters located beyond the courtyard’s garden. While touring the spacious property, I met two local artists lounging in the outdoor patio discussing their ideas in Spanish, before switching over to English to introduce themselves to me.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955341\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-scaled.jpg\" alt=\"plates of food are laid out on a wooden table\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa5-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Part of Fowler’s vision is to provide a cafe space for locals and visiting artists. At Bundo’s former location in downtown, the cafe served a variety of fresh dishes. Fowler plans to relocate Bundo. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Huerto feels fresh, and full of potential. It’s a bicultural space where artists of diverse backgrounds can intermingle and inform each other’s practices. It also offers respite and privacy for those in need of a fresh environment.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Visiting artists from Northern California include Tempestt (who recently published her debut book with City Lights), Keenan Norris (a novelist who received the 2022 Northern California Book Award), E.K. Keith (a San Francisco-based poet) and Adrian Arias (a Bay Area writer, painter and illustrator). \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955340\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955340\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-scaled.jpg\" alt=\"books about Oakland art are on display at a shop in Mexico\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa4-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Fowler’s mission is to create an international exchange between artists, and he shares work from Bay Area authors and painters with local Xalapeños. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">This summer, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13900077/ayodele-nzinga-oaklands-first-poet-laureate-is-here-for-the-people\">\u003cspan style=\"font-weight: 400\">Ayodele Nzinga\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (Oakland’s poet laureate) and \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13916674/tongo-eisen-martin-poet-laureate-parker-occupied-school-city-lights\">\u003cspan style=\"font-weight: 400\">Tongo Eisen-Martin\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (San Francisco’s poet laureate) have signed up for visits. Nzinga is planning an anthology titled \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Bridge\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, in which she will gather poems from authors based in both the Bay Area and Xalapa, culminating with a reading at Bundo.\u003c/span>\u003c/p>\n\u003cp>And it’s not only for Bay Area artists, either. Huerto is also a way-point for local Xalapeños and Mexican nationals from other parts of the country. In fact, Huerto’s inaugural resident was Javier Peñalosa\u003cem>, \u003c/em>a screenwriter and children’s book author from Mexico City. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The space is genuinely tranquil and inspiring,” Peñalosa wrote in Spanish on Huerto’s website. “It’s like an oasis in the heart of Xalapa,”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For first-timers in Xalapa — a small city that has virtually no foreigner presence, \u003ca href=\"https://www.latimes.com/food/story/2023-07-13/mexico-city-essay-daniel-hernandez\">unlike Mexico City with its influx of U.S. transplants \u003c/a>— the scenery and ambiance can overwhelm with its quiet positivity and reflective possibility.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13955338\" class=\"wp-caption alignnone\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13955338\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-scaled.jpg\" alt=\"a quaint kitchen in Mexico \" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/04/Xalapa2-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Huerto de Osos Perezosos offers ample living space for visiting artists, including a full kitchen that is attached to an outdoor garden. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s a certain synergy that artists can tap into in this off-the-radar destination, whose population is slightly larger than Oakland’s. Xalapa is ensconced in verdant greenery and often clouded and foggy like London, but with much warmer weather and tree-lined avenues where friendly women sell banana leaf-wrapped tamales. It’s the kind of unknown dimension that you might stumble into as a U.S. citizen and return from with an altered sense of gratitude.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My last night at Huerto, I walked out to the courtyard after dinner and stood in the lovely mist, and appreciated the way the lamplight fell over the compound walls and into the courtyard, beautifying the quiet, tropical scene,” Norris shared in a testimonial. “It really did feel like a caesura in time itself, a space to contemplate.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.huertodeososperezosos.org/\">\u003cspan style=\"font-weight: 400\">Huerto de Osos Perezosos\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (located in Xalapa’s historic center) is available for seven-day visits with varying price ranges. Xalapa is roughly four and a half hours from Mexico City’s easternmost airport via bus, and one hour via taxi from Veracruz’s international airport.\u003c/span>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp id=\"embed-code\" class=\"inconsolata\">\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast! \u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">Just \u003c/i>\u003c/b>\u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">fill out a short survey\u003c/a>\u003c/i>\u003c/b>\u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">.\u003c/i>\u003c/b>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6941179634&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp class=\"inconsolata\">Last year, renowned writer and San Francisco Poet Laureate, \u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, told us that it’s not enough to simply be a poet. “The poet needs to just come on down to the trenches,” he said, explaining that quality writing comes from the lived experience of participating in community activism.\u003c/p>\n\u003cp>In direct application of his own philosophy, Tongo has been involved with the occupation of Parker Elementary School, where organizers are fighting against the latest round of school closures in Oakland Unified School District — schools that are located in communities that are largely populated by Black and brown students.\u003c/p>\n\u003cp>Tongo has been a part of the group’s Freedom Friday events, where artists of all sorts are invited to show up and perform.\u003c/p>\n\u003cp>\u003cb>“We have poets and (an) open mic,” Tongo says during a recent phone call. “We also intersperse political dialogue in between the poets, making sure that everyone knows what we doing here.”\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13916674/tongo-eisen-martin-poet-laureate-parker-occupied-school-city-lights\" target=\"_blank\" rel=\"noopener noreferrer\">The ongoing fight against school closures\u003c/a> has resulted in physical altercations, as well as legal actions. KQED will continue to share updates as the \u003ca href=\"https://www.kqed.org/news/11921807/parker-elementary-activists-demand-investigation-after-clash-with-ousd-security\">story progresses\u003c/a>.\u003c/p>\n\u003cp>In the meantime, we’re going into the archives this week to share Tongo’s poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp id=\"embed-code\" class=\"inconsolata\">\u003cem>\u003cstrong>Hey Rightnowish listeners, you can help shape the future of the podcast! \u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">Just \u003c/i>\u003c/b>\u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">\u003ca class=\"c-link\" href=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://survey.alchemer.com/s3/6838454/2e522245cbb6\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">fill out a short survey\u003c/a>\u003c/i>\u003c/b>\u003cb data-stringify-type=\"bold\">\u003ci data-stringify-type=\"italic\">.\u003c/i>\u003c/b>\u003c/strong>\u003c/em>\u003c/p>\n\u003cp class=\"inconsolata\">\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC6941179634&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp class=\"inconsolata\">Last year, renowned writer and San Francisco Poet Laureate, \u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, told us that it’s not enough to simply be a poet. “The poet needs to just come on down to the trenches,” he said, explaining that quality writing comes from the lived experience of participating in community activism.\u003c/p>\n\u003cp>In direct application of his own philosophy, Tongo has been involved with the occupation of Parker Elementary School, where organizers are fighting against the latest round of school closures in Oakland Unified School District — schools that are located in communities that are largely populated by Black and brown students.\u003c/p>\n\u003cp>Tongo has been a part of the group’s Freedom Friday events, where artists of all sorts are invited to show up and perform.\u003c/p>\n\u003cp>\u003cb>“We have poets and (an) open mic,” Tongo says during a recent phone call. “We also intersperse political dialogue in between the poets, making sure that everyone knows what we doing here.”\u003c/b>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13916674/tongo-eisen-martin-poet-laureate-parker-occupied-school-city-lights\" target=\"_blank\" rel=\"noopener noreferrer\">The ongoing fight against school closures\u003c/a> has resulted in physical altercations, as well as legal actions. KQED will continue to share updates as the \u003ca href=\"https://www.kqed.org/news/11921807/parker-elementary-activists-demand-investigation-after-clash-with-ousd-security\">story progresses\u003c/a>.\u003c/p>\n\u003cp>In the meantime, we’re going into the archives this week to share Tongo’s poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The ‘Silliest’ Revolutionary: Tongo Eisen-Martin Writes Poetry at an Occupied School",
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"content": "\u003cp>These days you can find Tongo Eisen-Martin, San Francisco’s Eighth Poet Laureate, spending much of his time not in the city but over in East Oakland.\u003c/p>\n\u003cp>He hasn’t abandoned his post. In fact, volunteering at Parker Community School, a self-governed space occupied by local activists, is exactly in line with his priorities as poet laureate.\u003c/p>\n\u003cp>In February, the Oakland Unified School District (OUSD) Board of Education \u003ca href=\"https://www.kqed.org/news/11915396/we-have-power-oakland-activists-camp-out-in-school-to-stop-its-closure\" target=\"_blank\" rel=\"noopener noreferrer\">voted to close, merge or reduce eleven schools\u003c/a> over the next two years, including what was then known as Parker K-8 School. The school district said insufficient enrollment made the changes necessary, but the plan met intense opposition from local families, who pointed out that many of the schools slated for closure disproportionately served high numbers of Black and Brown students, often in neighborhoods that had already become victim to disinvestment by the City of Oakland.\u003c/p>\n\u003cp>[pullquote align='right' size='medium' citation='Tongo Eisen-Martin']‘By the time you pick up the pen, it’s sort of too late. So much of craft begins with the life you live before you pick up the pen.’[/pullquote]\u003c/p>\n\u003cp>Of the eleven schools, Parker K-8 was one set to close before the start of the 2022-2023 school year. But the community wasn’t having it. The occupation began on May 25, the last day of instruction. That’s when, at least in the occupiers’ eyes, Parker K-8 became the Parker Community School. The movement is now entering its third month.\u003c/p>\n\u003cp>Since then, Eisen-Martin has spent much of his time behind a folding table and a laptop with posters that say “Don’t Talk To The Police” and “Community not Closures” behind him. He checks students and visitors in, helps out with programming and keeps an eye on the door.\u003c/p>\n\u003cp>This is still an occupied school, and people could be removed at any time.\u003c/p>\n\u003cp>“In a society like this, I think about police at the door all the time,” Eisen-Martin says.\u003c/p>\n\u003cp>Eisen-Martin is both an activist fighting against structural racism in America and a poet. In one of his poems he writes, “I’m not creative, I’m just the silliest of the revolutionaries.” Participating in a grassroots movement like this is actually part of his creative process.\u003c/p>\n\u003cp>“By the time you pick up the pen, it’s sort of too late. So much of craft begins with the life you live before you pick up the pen,” he says.\u003c/p>\n\u003cp>That mindset also informs the kind of curriculum that’s being taught at Parker K-8 now.[aside postid='news_11915396']“Before we even get to the classroom, we start with the energy of resistance and in that way, a poem or any type of writing takes care of itself,” Eisen-Martin says.\u003c/p>\n\u003cp>In his poetry, Eisen-Martin writes about “the neo-confederate tendency that’s been sweeping the nation.”\u003c/p>\n\u003cp>For him and his fellow activists, this occupation represents an important stand for the right of Black and Brown people to exist and thrive in rapidly gentrifying Oakland.\u003c/p>\n\u003cp>“The moves they’re making to close these schools is really part of a plan of ethnic cleansing of Oakland,” he says. “If you take a neighborhood and you take out all of its centers of gathering, we’re easier to move to the next reservation.”\u003c/p>\n\u003ch2>A Summer School for the Community, by the Community\u003c/h2>\n\u003cp>The schedule for students on Wednesday, July 6, included breakfast, community circle, jewelry, reading, P.E., political education, lunch, math/STEM, free time and history.\u003c/p>\n\u003cp>Political education is one of the main things that sets occupied Parker and OUSD Parker apart for 13-year-old Jasionna Landry, one of the students at the school.\u003c/p>\n\u003cp>“[Before], they would only teach us about simple Black history,” she says. “They didn’t really teach us about anything beyond that.”\u003c/p>\n\u003cp>Another student, 15-year-old Jayvien Bolden, says he is working on a play—admittedly, it’s a little autobiographical—about “a kid whose childhood school is getting shut down and he’s not gonna let it go so easily,” he says. “He’s gonna do everything he can to try to save it. And it’s about him bringing the community together.”\u003c/p>\n\u003cfigure id=\"attachment_13916724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/ROCHELLE.jpeg\" alt=\"A Woman stands with her son and two daughters outside of Parker Elementary\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Jenkins (right); her son Jayvien Bolden, 15, a graduate of Parker; her daughter Zariah, 12; and another Parker student pose outside the school, May 26, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Eisen-Martin is one of the more high-profile activists in the occupation, “I’m not the main protagonist here,” he says.\u003c/p>\n\u003cp>That credit goes to Rochelle Jenkins, who began protesting with her four children, including Bolden and her two younger daughters who were still enrolled at the school. That was back in February, when Parker K-8 families found out about the proposed shutdown.\u003c/p>\n\u003cp>“They was like, ‘Well, mom, we need to go protest.’ And I was like, ‘You guys are absolutely right,’” Jenkins says.\u003c/p>\n\u003cp>So Jenkins, her kids and a few friends walked down to the corner of MacArthur Boulevard and Ritchie Street with homemade signs and started raising awareness. That snowballed into the current occupation, which Jenkins says can host around 25 to 30 students, teachers and volunteers on any given day.\u003c/p>\n\u003cp>Christina Beach co-taught a Black history lesson on the day that KQED visited. A former activist, she began to cry when she discussed her reasons for volunteering at Parker.\u003c/p>\n\u003cp>“The best thing you can do as an activist is create future leaders, and develop them and give them the confidence, skills, knowledge, to carry it on to future generations,” she says. “I feel like I’m part of it, and that’s exciting.”\u003c/p>\n\u003cp>There’s a lot going on at Parker among the volunteers, the teachers, the students and the spontaneous roller skate parties in the wood-floored gymnasium. But Jenkins says Eisen-Martin is “the glue that holds this whole thing together.”\u003c/p>\n\u003cp>“We actually all share a similar passion, and that’s a passion for people in the community,” she explains.\u003c/p>\n\u003cp>“He is truly a revolutionary poet in the sense that his words and his art are revolutionary, and his actions are also revolutionary,” says Anthony Walters, another school volunteer. “He has integrity as a Black man standing up for his community, and that is the strongest message that he can convey.”\u003c/p>\n\u003cfigure id=\"attachment_13916734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916734\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/oea-e1651267429722-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland teachers march on the picket line on April 29, 2022, outside Parker K-8 in East Oakland. The Oakland Unified School District closed the school on May 25, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Fly In The Ointment for the Powers That Be’\u003c/h2>\n\u003cp>With all the talk of revolution and the fight against fascism, things feel pretty mellow at Parker Community School on a recent Wednesday afternoon. A group of about eight children play piano and run around in a large gymnasium. About four volunteers filter in and out. An older man comes in to get some free food and coffee.\u003c/p>\n\u003cp>This leaves Eisen-Martin some time to focus on his other projects. His publishing company, \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, put out two new poetry books this month and has one more slated for August. Eisen-Martin’s duties as Poet Laureate include authoring a new collection of poetry for San Francisco’s iconic \u003ca href=\"https://citylights.com/\" target=\"_blank\" rel=\"noopener noreferrer\">City Lights Booksellers & Publishers\u003c/a>, co-founded in 1953 by beat poet Lawrence Ferlinghetti. It’s “a beautiful obligation” that’s “coming along,” Eisen-Martin says.\u003c/p>\n\u003cfigure id=\"attachment_13916737\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916737\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_1442-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elaine Katzenberger, publisher and executive director of City Lights Books in her office. \u003ccite>(Azul Dahlstrom-Eckman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Blood-on-the-Fog-excerpt.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Read an excerpt from the poem “Third in the World”\u003c/a> from Eisen-Martin’s collection \u003cem>Blood on the Fog\u003c/em> (City Lights, 2021), published with permission from City Lights Booksellers & Publishers.\u003c/em>]\u003c/p>\n\u003cp>“Poetry is not going to change the world by itself, but poetry changes people,” says Elaine Katzenberger, publisher and executive director of City Lights. “Poetry opens people’s minds and their hearts and stimulates their brains. All of that is what stimulates social change and a sense of community. So poetry used for that purpose is ultimately more powerful than reading some revolutionary tract.”\u003c/p>\n\u003cp>Katzenberger says that previous San Francisco Poet Laureates have also used their role for activism. “You’re supposed to be in the community stimulating minds and bringing poetry to the people somehow, and different laureates have done that in different ways.”\u003c/p>\n\u003cp>But at 42 years old, “Tongo is a great deal younger than previous laureates, and he’s also more politically active than I think anyone has been so far,” she explains.\u003c/p>\n\u003cp>Katzenberger says that Eisen-Martin is a perfect representation of the idea that a poet should be a “fly in the ointment for the powers that be.”\u003c/p>\n\u003cp>She first heard Eisen-Martin at a poetry reading in 2019, and thought hearing him perform was more like listening to a musician.\u003c/p>\n\u003cp>“It sounds improvisatory. He’s not reading, he’s actually reciting,” says Katzenberger. “Each time there is a performance it’s a little bit different from whatever else you might have experienced.”\u003c/p>\n\u003cp>Eisen-Martin’s 6-foot-8 frame commands its own gravity. His voice rumbles, at times lethargic, offering his deliberate, pensive view of the world. [aside postid='arts_13900077']That all changes when he gets on the stage. His pacing can vary between sedated and frenetic, humorous and chaotic, morose and furious. He enters a sort of trance, bobbing his head, in the same poem he can sound like a rapper freestyling and a grandfather recalling a fading memory.\u003c/p>\n\u003ch2>‘The Steph Curry of Poetry’\u003c/h2>\n\u003cp>That style was on display at the June 18 record release party for Eisen-Martin’s debut album at the Great American Music Hall in San Francisco. The album is a collection of his poems read aloud, with no musical accompaniment. It’s called \u003ca href=\"https://tongoeisen-martin.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I follow the railroad tracks to the station of my enemies\u003c/em>\u003c/a>, put out by local record label Rocks In Your Head Records. The record’s title is the first line of one of the poems featured in the collection, called “I do not know the spelling of money.”\u003c/p>\n\u003cp>“I think the idea was a kind of a throwback effort as far as, you know, a nod to a Langston Hughes recording, or an Audre Lorde recording that you would come across,” says Eisen-Martin. “Rocks In Your Head wanted to do something like that for the contemporary era.”\u003c/p>\n\u003cfigure id=\"attachment_13916739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_5697-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin recites his poetry at Great American Music Hall on June 18, 2022. \u003ccite>(Cecile Morgan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance at Great American Music Hall featured Eisen-Martin reciting the collection of poems with the backing of a jazz band and vocalist. A fog machine diffused light behind Eisen-Martin as his words tip-toed and danced over stanzas. The mostly full crowd either sat or stood, making the scene feel like a cross between an old-school North Beach poetry reading and a modern-day poetry slam.\u003c/p>\n\u003cp>Seated among the audience was a longtime San Francisco poet, Mike the Monolyth Stewart. He says watching Eisen-Martin perform is like watching “the Steph Curry of poetry.” Like Eisen-Martin, Stewart spends his time both writing his own poetry and working with youth to help them write their own.[pullquote align='right' size='medium' citation='Tongo Eisen-Martin']‘The moves they’re making to close these schools is really part of a plan of ethnic cleansing of Oakland. If you take a neighborhood and you take out all of its centers of gathering, we’re easier to move to the next reservation.’[/pullquote]“As a counselor with kids for 20-plus years, I see how all that artistry gleans into the kids. When you bring artistry to them and help them recognize a better life, that’s where the revolution is,” says Stewart.\u003c/p>\n\u003cp>Eisen-Martin himself credits his artistic awakening to the experiences he had as a youth. “I learned poetry all over the village that raised me,” Eisen-Martin says. “I got lucky that way, being born to a more radical family, both immediate and cosmically constructed.”\u003c/p>\n\u003cp>His upbringing was kind of like a community school.\u003c/p>\n\u003ch2>The Occupation Continues\u003c/h2>\n\u003cp>On the day that KQED visited Parker Community School, the occupation was celebrating its 50th day. But the future of it is tenuous at best. While the atmosphere is relaxed, it has to be occupied 24/7, and volunteers regularly patrol the premises. It seems that there is an expectation that it could be shut down at any moment.\u003c/p>\n\u003cp>Rochelle Jenkins, the main organizer behind the occupation, said she and another activist have been meeting with OUSD Board leadership, but said she couldn’t disclose what’s been discussed. Jenkins and others fear OUSD will sell the school to the highest bidder, possibly turning it into a housing development or a charter school. Whatever happens, Jenkins says her priority is to make sure any replacement of Parker will serve the community that lives in the neighborhood now.\u003c/p>\n\u003cp>“If you don’t want to keep it open as a school, can you at least keep it open as a community recreation center or something that’s going to continue to educate the kids in this community?” says Jenkins.\u003c/p>\n\u003cfigure id=\"attachment_13916729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916729 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin sits in a classroom at Parker Elementary School in Oakland on July 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Proposals to the OUSD school board to either delay or stop the closure of Parker have so far been denied. In a statement, the district said that Parker was now closed and the individuals who remained there were trespassing.\u003c/p>\n\u003cp>At its May 25 board meeting, the OUSD superintendent proposed to open an Adult Education Community Service Center that would “serve adults in East Oakland and provide a variety of services based on the needs of that specific community,” an OUSD spokesperson told KQED via email. A board vote on the future use of Parker is expected by the end of September 2022.\u003c/p>\n\u003cp>That doesn’t seem to satisfy the occupiers. “The deeper declaration is that none of you matter and all of you will be gone soon,” says Eisen-Martin. “It really doesn’t make any sense for the school board to deny the will of the people.”\u003c/p>\n\u003cp>There’s a sense among Parker activists that this summer is a sort of calm before the storm. As the beginning of a new school year looms, OUSD may try to escalate their tactics to end the occupation, they fear. But among the volunteers, teachers and students, there is a dogged sense of optimism.\u003c/p>\n\u003cp>“It feels like this is a little bit of history in the making and that’s exciting,” says volunteer teacher Christina Beach.\u003c/p>\n\u003cp>Jenkins says whatever OUSD has in store, they’re ready. “I’m so thankful for the team that we have built here, because we’re able to just roll with the punches and take it on. Whatever it is that y’all have up y’all’s sleeve, believe me, we have a response for it.”\u003c/p>\n\u003cfigure id=\"attachment_13916719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-800x533.jpg\" alt='Tongo Eisen-Martin stands outside Parker Elementary on a sunny day. He is wearing a blue peacoat and green pants. The wall behind him says \"Parker Pride\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin stands outside of Parker Elementary School in Oakland on July 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, the school will continue with its educational programs but also with grocery giveaways to the community, poetry nights led by Eisen-Martin and community events on weekends.\u003c/p>\n\u003cp>While the closure of Parker has caused pain for its community, the ensuing occupation has spawned something meaningful, life-changing and, yes, maybe even revolutionary, in a way that harkens back to Oakland’s activist roots. That’s a piece of this story that Eisen-Martin can take solace in.\u003c/p>\n\u003cp>“I think it’s an inevitability that at a certain point, the system’s aggression is going to lead to a little piece of its downfall, right?” he muses.\u003c/p>\n\u003cp>That’s an ending that some might even call poetic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days you can find Tongo Eisen-Martin, San Francisco’s Eighth Poet Laureate, spending much of his time not in the city but over in East Oakland.\u003c/p>\n\u003cp>He hasn’t abandoned his post. In fact, volunteering at Parker Community School, a self-governed space occupied by local activists, is exactly in line with his priorities as poet laureate.\u003c/p>\n\u003cp>In February, the Oakland Unified School District (OUSD) Board of Education \u003ca href=\"https://www.kqed.org/news/11915396/we-have-power-oakland-activists-camp-out-in-school-to-stop-its-closure\" target=\"_blank\" rel=\"noopener noreferrer\">voted to close, merge or reduce eleven schools\u003c/a> over the next two years, including what was then known as Parker K-8 School. The school district said insufficient enrollment made the changes necessary, but the plan met intense opposition from local families, who pointed out that many of the schools slated for closure disproportionately served high numbers of Black and Brown students, often in neighborhoods that had already become victim to disinvestment by the City of Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the eleven schools, Parker K-8 was one set to close before the start of the 2022-2023 school year. But the community wasn’t having it. The occupation began on May 25, the last day of instruction. That’s when, at least in the occupiers’ eyes, Parker K-8 became the Parker Community School. The movement is now entering its third month.\u003c/p>\n\u003cp>Since then, Eisen-Martin has spent much of his time behind a folding table and a laptop with posters that say “Don’t Talk To The Police” and “Community not Closures” behind him. He checks students and visitors in, helps out with programming and keeps an eye on the door.\u003c/p>\n\u003cp>This is still an occupied school, and people could be removed at any time.\u003c/p>\n\u003cp>“In a society like this, I think about police at the door all the time,” Eisen-Martin says.\u003c/p>\n\u003cp>Eisen-Martin is both an activist fighting against structural racism in America and a poet. In one of his poems he writes, “I’m not creative, I’m just the silliest of the revolutionaries.” Participating in a grassroots movement like this is actually part of his creative process.\u003c/p>\n\u003cp>“By the time you pick up the pen, it’s sort of too late. So much of craft begins with the life you live before you pick up the pen,” he says.\u003c/p>\n\u003cp>That mindset also informs the kind of curriculum that’s being taught at Parker K-8 now.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Before we even get to the classroom, we start with the energy of resistance and in that way, a poem or any type of writing takes care of itself,” Eisen-Martin says.\u003c/p>\n\u003cp>In his poetry, Eisen-Martin writes about “the neo-confederate tendency that’s been sweeping the nation.”\u003c/p>\n\u003cp>For him and his fellow activists, this occupation represents an important stand for the right of Black and Brown people to exist and thrive in rapidly gentrifying Oakland.\u003c/p>\n\u003cp>“The moves they’re making to close these schools is really part of a plan of ethnic cleansing of Oakland,” he says. “If you take a neighborhood and you take out all of its centers of gathering, we’re easier to move to the next reservation.”\u003c/p>\n\u003ch2>A Summer School for the Community, by the Community\u003c/h2>\n\u003cp>The schedule for students on Wednesday, July 6, included breakfast, community circle, jewelry, reading, P.E., political education, lunch, math/STEM, free time and history.\u003c/p>\n\u003cp>Political education is one of the main things that sets occupied Parker and OUSD Parker apart for 13-year-old Jasionna Landry, one of the students at the school.\u003c/p>\n\u003cp>“[Before], they would only teach us about simple Black history,” she says. “They didn’t really teach us about anything beyond that.”\u003c/p>\n\u003cp>Another student, 15-year-old Jayvien Bolden, says he is working on a play—admittedly, it’s a little autobiographical—about “a kid whose childhood school is getting shut down and he’s not gonna let it go so easily,” he says. “He’s gonna do everything he can to try to save it. And it’s about him bringing the community together.”\u003c/p>\n\u003cfigure id=\"attachment_13916724\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13916724\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/ROCHELLE.jpeg\" alt=\"A Woman stands with her son and two daughters outside of Parker Elementary\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/ROCHELLE-768x576.jpeg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rochelle Jenkins (right); her son Jayvien Bolden, 15, a graduate of Parker; her daughter Zariah, 12; and another Parker student pose outside the school, May 26, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Eisen-Martin is one of the more high-profile activists in the occupation, “I’m not the main protagonist here,” he says.\u003c/p>\n\u003cp>That credit goes to Rochelle Jenkins, who began protesting with her four children, including Bolden and her two younger daughters who were still enrolled at the school. That was back in February, when Parker K-8 families found out about the proposed shutdown.\u003c/p>\n\u003cp>“They was like, ‘Well, mom, we need to go protest.’ And I was like, ‘You guys are absolutely right,’” Jenkins says.\u003c/p>\n\u003cp>So Jenkins, her kids and a few friends walked down to the corner of MacArthur Boulevard and Ritchie Street with homemade signs and started raising awareness. That snowballed into the current occupation, which Jenkins says can host around 25 to 30 students, teachers and volunteers on any given day.\u003c/p>\n\u003cp>Christina Beach co-taught a Black history lesson on the day that KQED visited. A former activist, she began to cry when she discussed her reasons for volunteering at Parker.\u003c/p>\n\u003cp>“The best thing you can do as an activist is create future leaders, and develop them and give them the confidence, skills, knowledge, to carry it on to future generations,” she says. “I feel like I’m part of it, and that’s exciting.”\u003c/p>\n\u003cp>There’s a lot going on at Parker among the volunteers, the teachers, the students and the spontaneous roller skate parties in the wood-floored gymnasium. But Jenkins says Eisen-Martin is “the glue that holds this whole thing together.”\u003c/p>\n\u003cp>“We actually all share a similar passion, and that’s a passion for people in the community,” she explains.\u003c/p>\n\u003cp>“He is truly a revolutionary poet in the sense that his words and his art are revolutionary, and his actions are also revolutionary,” says Anthony Walters, another school volunteer. “He has integrity as a Black man standing up for his community, and that is the strongest message that he can convey.”\u003c/p>\n\u003cfigure id=\"attachment_13916734\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916734\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/oea-e1651267429722-800x600.jpeg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/oea-e1651267429722.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oakland teachers march on the picket line on April 29, 2022, outside Parker K-8 in East Oakland. The Oakland Unified School District closed the school on May 25, 2022. \u003ccite>(Julia McEvoy/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Fly In The Ointment for the Powers That Be’\u003c/h2>\n\u003cp>With all the talk of revolution and the fight against fascism, things feel pretty mellow at Parker Community School on a recent Wednesday afternoon. A group of about eight children play piano and run around in a large gymnasium. About four volunteers filter in and out. An older man comes in to get some free food and coffee.\u003c/p>\n\u003cp>This leaves Eisen-Martin some time to focus on his other projects. His publishing company, \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, put out two new poetry books this month and has one more slated for August. Eisen-Martin’s duties as Poet Laureate include authoring a new collection of poetry for San Francisco’s iconic \u003ca href=\"https://citylights.com/\" target=\"_blank\" rel=\"noopener noreferrer\">City Lights Booksellers & Publishers\u003c/a>, co-founded in 1953 by beat poet Lawrence Ferlinghetti. It’s “a beautiful obligation” that’s “coming along,” Eisen-Martin says.\u003c/p>\n\u003cfigure id=\"attachment_13916737\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916737\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_1442-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_1442-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elaine Katzenberger, publisher and executive director of City Lights Books in her office. \u003ccite>(Azul Dahlstrom-Eckman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[\u003cem>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/Blood-on-the-Fog-excerpt.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">Read an excerpt from the poem “Third in the World”\u003c/a> from Eisen-Martin’s collection \u003cem>Blood on the Fog\u003c/em> (City Lights, 2021), published with permission from City Lights Booksellers & Publishers.\u003c/em>]\u003c/p>\n\u003cp>“Poetry is not going to change the world by itself, but poetry changes people,” says Elaine Katzenberger, publisher and executive director of City Lights. “Poetry opens people’s minds and their hearts and stimulates their brains. All of that is what stimulates social change and a sense of community. So poetry used for that purpose is ultimately more powerful than reading some revolutionary tract.”\u003c/p>\n\u003cp>Katzenberger says that previous San Francisco Poet Laureates have also used their role for activism. “You’re supposed to be in the community stimulating minds and bringing poetry to the people somehow, and different laureates have done that in different ways.”\u003c/p>\n\u003cp>But at 42 years old, “Tongo is a great deal younger than previous laureates, and he’s also more politically active than I think anyone has been so far,” she explains.\u003c/p>\n\u003cp>Katzenberger says that Eisen-Martin is a perfect representation of the idea that a poet should be a “fly in the ointment for the powers that be.”\u003c/p>\n\u003cp>She first heard Eisen-Martin at a poetry reading in 2019, and thought hearing him perform was more like listening to a musician.\u003c/p>\n\u003cp>“It sounds improvisatory. He’s not reading, he’s actually reciting,” says Katzenberger. “Each time there is a performance it’s a little bit different from whatever else you might have experienced.”\u003c/p>\n\u003cp>Eisen-Martin’s 6-foot-8 frame commands its own gravity. His voice rumbles, at times lethargic, offering his deliberate, pensive view of the world. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That all changes when he gets on the stage. His pacing can vary between sedated and frenetic, humorous and chaotic, morose and furious. He enters a sort of trance, bobbing his head, in the same poem he can sound like a rapper freestyling and a grandfather recalling a fading memory.\u003c/p>\n\u003ch2>‘The Steph Curry of Poetry’\u003c/h2>\n\u003cp>That style was on display at the June 18 record release party for Eisen-Martin’s debut album at the Great American Music Hall in San Francisco. The album is a collection of his poems read aloud, with no musical accompaniment. It’s called \u003ca href=\"https://tongoeisen-martin.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>I follow the railroad tracks to the station of my enemies\u003c/em>\u003c/a>, put out by local record label Rocks In Your Head Records. The record’s title is the first line of one of the poems featured in the collection, called “I do not know the spelling of money.”\u003c/p>\n\u003cp>“I think the idea was a kind of a throwback effort as far as, you know, a nod to a Langston Hughes recording, or an Audre Lorde recording that you would come across,” says Eisen-Martin. “Rocks In Your Head wanted to do something like that for the contemporary era.”\u003c/p>\n\u003cfigure id=\"attachment_13916739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916739\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/IMG_5697-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/IMG_5697.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin recites his poetry at Great American Music Hall on June 18, 2022. \u003ccite>(Cecile Morgan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance at Great American Music Hall featured Eisen-Martin reciting the collection of poems with the backing of a jazz band and vocalist. A fog machine diffused light behind Eisen-Martin as his words tip-toed and danced over stanzas. The mostly full crowd either sat or stood, making the scene feel like a cross between an old-school North Beach poetry reading and a modern-day poetry slam.\u003c/p>\n\u003cp>Seated among the audience was a longtime San Francisco poet, Mike the Monolyth Stewart. He says watching Eisen-Martin perform is like watching “the Steph Curry of poetry.” Like Eisen-Martin, Stewart spends his time both writing his own poetry and working with youth to help them write their own.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As a counselor with kids for 20-plus years, I see how all that artistry gleans into the kids. When you bring artistry to them and help them recognize a better life, that’s where the revolution is,” says Stewart.\u003c/p>\n\u003cp>Eisen-Martin himself credits his artistic awakening to the experiences he had as a youth. “I learned poetry all over the village that raised me,” Eisen-Martin says. “I got lucky that way, being born to a more radical family, both immediate and cosmically constructed.”\u003c/p>\n\u003cp>His upbringing was kind of like a community school.\u003c/p>\n\u003ch2>The Occupation Continues\u003c/h2>\n\u003cp>On the day that KQED visited Parker Community School, the occupation was celebrating its 50th day. But the future of it is tenuous at best. While the atmosphere is relaxed, it has to be occupied 24/7, and volunteers regularly patrol the premises. It seems that there is an expectation that it could be shut down at any moment.\u003c/p>\n\u003cp>Rochelle Jenkins, the main organizer behind the occupation, said she and another activist have been meeting with OUSD Board leadership, but said she couldn’t disclose what’s been discussed. Jenkins and others fear OUSD will sell the school to the highest bidder, possibly turning it into a housing development or a charter school. Whatever happens, Jenkins says her priority is to make sure any replacement of Parker will serve the community that lives in the neighborhood now.\u003c/p>\n\u003cp>“If you don’t want to keep it open as a school, can you at least keep it open as a community recreation center or something that’s going to continue to educate the kids in this community?” says Jenkins.\u003c/p>\n\u003cfigure id=\"attachment_13916729\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13916729 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57404_005_KQED_TongoEisenMartin_07272022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin sits in a classroom at Parker Elementary School in Oakland on July 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Proposals to the OUSD school board to either delay or stop the closure of Parker have so far been denied. In a statement, the district said that Parker was now closed and the individuals who remained there were trespassing.\u003c/p>\n\u003cp>At its May 25 board meeting, the OUSD superintendent proposed to open an Adult Education Community Service Center that would “serve adults in East Oakland and provide a variety of services based on the needs of that specific community,” an OUSD spokesperson told KQED via email. A board vote on the future use of Parker is expected by the end of September 2022.\u003c/p>\n\u003cp>That doesn’t seem to satisfy the occupiers. “The deeper declaration is that none of you matter and all of you will be gone soon,” says Eisen-Martin. “It really doesn’t make any sense for the school board to deny the will of the people.”\u003c/p>\n\u003cp>There’s a sense among Parker activists that this summer is a sort of calm before the storm. As the beginning of a new school year looms, OUSD may try to escalate their tactics to end the occupation, they fear. But among the volunteers, teachers and students, there is a dogged sense of optimism.\u003c/p>\n\u003cp>“It feels like this is a little bit of history in the making and that’s exciting,” says volunteer teacher Christina Beach.\u003c/p>\n\u003cp>Jenkins says whatever OUSD has in store, they’re ready. “I’m so thankful for the team that we have built here, because we’re able to just roll with the punches and take it on. Whatever it is that y’all have up y’all’s sleeve, believe me, we have a response for it.”\u003c/p>\n\u003cfigure id=\"attachment_13916719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13916719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-800x533.jpg\" alt='Tongo Eisen-Martin stands outside Parker Elementary on a sunny day. He is wearing a blue peacoat and green pants. The wall behind him says \"Parker Pride\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/07/RS57403_002_KQED_TongoEisenMartin_07272022-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tongo Eisen-Martin stands outside of Parker Elementary School in Oakland on July 27, 2022. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the meantime, the school will continue with its educational programs but also with grocery giveaways to the community, poetry nights led by Eisen-Martin and community events on weekends.\u003c/p>\n\u003cp>While the closure of Parker has caused pain for its community, the ensuing occupation has spawned something meaningful, life-changing and, yes, maybe even revolutionary, in a way that harkens back to Oakland’s activist roots. That’s a piece of this story that Eisen-Martin can take solace in.\u003c/p>\n\u003cp>“I think it’s an inevitability that at a certain point, the system’s aggression is going to lead to a little piece of its downfall, right?” he muses.\u003c/p>\n\u003cp>That’s an ending that some might even call poetic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. [aside postid='arts_13913890']\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\u003c/p>\n\u003cp>https://youtu.be/AGMXdl9Rjq0\u003c/p>\n\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. [aside postid='arts_13914743']\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the poets, musicians and visual artists receiving its $1,000 direct deposits every month, the \u003ca href=\"https://www.guaranteedinc.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists (SF-GIPA)\u003c/a> has been a lifeline in one of the most expensive cities in the world.\u003c/p>\n\u003cp>But not everyone was pleased with the way SF-GIPA was rolled out in May 2021. \u003ca href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\">Critics argued\u003c/a> that the Mayor’s Office should have selected an organization embedded in communities of color to administer the program—instead of the large, white-led institution Yerba Buena Center for the Arts (YBCA). And some took issue with YBCA narrowing down the final pool of 1,409 eligible applicants to 130 recipients using a randomization tool (essentially, a lottery system) rather than determining which artists faced the biggest financial hardships.\u003c/p>\n\u003cp>YBCA sought to remedy some of these issues in the selection process for SF-GIPA’s second cohort, which the organization is publicly announcing today. Thanks to funding from \u003ca href=\"https://startsmall.llc/\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Dorsey’s #StartSmall\u003c/a> foundation and a donation from billionaire \u003ca href=\"https://www.nytimes.com/2022/04/10/business/mackenzie-scott-charity.html\" target=\"_blank\" rel=\"noopener noreferrer\">McKenzie Scott\u003c/a>, which supplanted the city’s initial investment with $3.5 million, 60 additional artists began receiving monthly $1,000 payments between October 2021 and February 2022—funding which will continue for a total of 18 months.\u003c/p>\n\u003cp>While the first SF-GIPA cohort was selected through a public application process—the restrictions for which included an income cap and specific zip codes hit hardest by COVID-19—the second cohort was nominated by six partnering organizations, with years of grassroots work in their communities, that YBCA is calling the Creative Communities Coalition for Guaranteed Income.\u003c/p>\n\u003cp>“The organizations that we’re partnered with in this program were organizations that are cultural, spiritual, political leaders and anchors of their communities,” says Stephanie Imah, senior manager of artist investments at YBCA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Those organizations include \u003ca href=\"http://www.galeriadelaraza.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Galería De La Raza\u003c/a> and the \u003ca href=\"https://www.cccsf.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Culture Center of San Francisco\u003c/a>, both social justice arts spaces open since the 1970s; \u003ca href=\"https://www.blackfreighterpress.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Freighter Press\u003c/a>, the publishing house co-founded by San Francisco Poet Laureate \u003ca href=\"https://www.kqed.org/arts/13893308/tongo-eisen-martin-on-a-poets-role-in-a-protest\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a> and writer Alie Jones; \u003ca href=\"https://dancemissiontheater.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Dance Mission Theater\u003c/a> and \u003ca href=\"https://www.sfbatco.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Bay Area Theatre Company\u003c/a>, both performing arts organizations that center artists of color; and the \u003ca href=\"https://www.transgenderdistrictsf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Transgender District\u003c/a>, which formed in 2017 and offers career development and housing assistance programs for trans and gender-nonconforming people. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Imah says YBCA let each of the six organizations choose 10 artists based on their own criteria. With so much need among San Francisco artists, YBCA wanted to avoid creating an “oppression Olympics” dynamic where artists must put their trauma on display to compete for funding. “For us working with these partners, it was really trust-based,” Imah says. “It was really leaning on this ethos that you are rooted in your communities, you are the best deciders of what your community needs and you are the closest to the issues.”\u003c/p>\n\u003cfigure id=\"attachment_13915184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915184\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/GIP-IRL-35.jpg 1689w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">YBCA partnered with six community organizations to nominate 60 additional artists for the San Francisco Guaranteed Income Pilot for Artists. From left to right: Ani Rivera of Galeria de la Raza, Jenny Leung of Chinese Culture Center, Rodney Jackson of SFBATCO (seated), Jiatian Wu of Chinese Culture Center, Ivette Diaz of Galeria de la Raza, Christian Medina Beltz of YBCA, Stella Adelman of Dance Mission Theater, Stephanie Imah of YBCA and Aisa Villarosa of YBCA. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah says YBCA chose the partnering organizations not only for their connections to artists of color and LGBTQ+ artists, but because they’re trusted by people who aren’t the typical audience for a capital-A Art institution like YBCA: immigrants and refugees who aren’t fluent English speakers, sex workers and people who’ve experienced homelessness. Many of the selected artists are involved in community organizing, often without pay. And all of them were hit hard with financial losses during the pandemic.\u003c/p>\n\u003cp>“This went to artists who were the heartbeat of the city, and who give so much to the city,” Imah says.\u003c/p>\n\u003ch2>Giving artists room to flourish\u003c/h2>\n\u003cp>\u003ca href=\"https://www.instagram.com/improvjav/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Javier Reyes\u003c/a> is a perfect example of the type of artist YBCA wanted to reach. A poet nominated for SF-GIPA through Black Freighter Press, Reyes is a Christian faith leader and youth mentor born and raised in San Francisco. He connected with Black Freighter when he hosted a free writing workshop during the early part of the pandemic.\u003c/p>\n\u003cfigure id=\"attachment_13915366\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915366\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-6.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Javier Reyes does youth ministry work at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reyes is used to working 10-hour days. Now, thanks to the Guaranteed Income payments, he can afford to take the summer off from his job at 100% College Prep to focus on building an e-sports lounge for teens at City Life Church in the Bayview. (Reyes says he got a $10,000 grant to pay youth to set up the facility; he’s not making money from it himself.)\u003c/p>\n\u003cp>“I thought it would be a good opportunity to get kids into college to think about the industry of video gaming and entertainment,” Reyes says.\u003c/p>\n\u003cp>Reyes considers himself a bridge-builder between the arts, San Francisco’s Black and Brown youth and the philanthropists who have the ability to fund much-needed community projects. Cultivating those relationships is often unpaid work. But guaranteed income gives him more freedom to focus on that, and the ability to turn down underpaying gigs.\u003c/p>\n\u003cp>“As artists, we just don’t use our money for us. We give back to our community,” Reyes says.\u003c/p>\n\u003cfigure id=\"attachment_13915365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915365\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Javier-Reyes-YBCAGIP-21.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The e-sports lounge in progress at City Life Church. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For another SF-GIPA recipient nominated by the Chinese Culture Center, \u003ca href=\"https://www.homeisahotel.com/home/the-team\" target=\"_blank\" rel=\"noopener noreferrer\">Kar Yin Tham\u003c/a>, the guaranteed $1,000 per month allows her to focus on a film project years in the making: the documentary \u003ca href=\"https://www.homeisahotel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Home is a Hotel\u003c/i>\u003c/a>, which she’s co-directing and producing. \u003ci>Home is a Hotel\u003c/i> follows several residents of SROs, or single room occupancy hotels, as they attempt to rebuild their lives after facing incarceration and addiction or arriving to the United States as immigrants.\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/AGMXdl9Rjq0'\n title='//www.youtube.com/embed/AGMXdl9Rjq0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Getting the SF-GIPA funding every month means Tham doesn’t need to take on as many corporate video gigs to make ends meet. “A lot of the commercial work that I had worked on is basically profiling these big companies and whatever products they’re trying to do,” she says. “And what I care about is social justice, what I care about is our communities.”\u003c/p>\n\u003cp>She says guaranteed income is an important way to support projects like \u003ci>Home is a Hotel\u003c/i>, which centers the most vulnerable members of society—the kind of story that typically doesn’t get funded in Hollywood. “A lot of times the investments are made into either an already-famous director or properties they consider to be easy to make profit,” says Tham.\u003c/p>\n\u003cfigure id=\"attachment_13915369\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915369\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-2.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham films b-roll in Chinatown. The San Francisco Guaranteed Income for Artists has allowed her to focus on her documentary about SRO residents, ‘Home is a Hotel.’ \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The kinds of stories I’m interested in are not usually what’s considered—how shall we say—‘worthy’ in mainstream media,” she says.\u003c/p>\n\u003cp>Arron Ritschell, a program associate at the Transgender District, observed a similar kind of flourishing in the artists their organization nominated for SF-GIPA. Ritschell says the Transgender District sought out people who were dealing with housing and job instability but didn’t qualify for pandemic unemployment. “We also wanted to prioritize transgender people of color and, specifically, Black transgender artists,” Ritschell says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since the Transgender District’s 10 artists began receiving their $1,000 monthly payments in October, Ritschell and their team have checked in with participants in optional focus groups every few months. One artist shared that they’re using the funds to support a film project. Another was able to afford the tradeoff of taking a lower-paid, entry-level job in order to learn new skills, which they hope will set them up to apply for better paying work in the future. And a third artist used the money to buy video equipment and start a YouTube channel, which helped them build a resumé and get a well-paying job in social media marketing.\u003c/p>\n\u003cp>“That was amazing just to hear that they went from being denied for unemployment and having to rely on sex work and couch surfing,” says Ritschell, noting that they don’t see sex work as a bad thing, but are glad the participants can focus on their art. “Now they’re making the type of income where they’re able to not panic about where the rent money is coming in.”\u003c/p>\n\u003cfigure id=\"attachment_13915211\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915211\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/arron-ritschell-headshot-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\">\u003cfigcaption class=\"wp-caption-text\">Arron Ritschell, program associate at the Transgender District, says Guaranteed Income has helped some trans artists out of precarious financial situations. \u003ccite>(Courtesy of Arron Ritschell)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>YBCA seeks to rebuild community trust\u003c/h2>\n\u003cp>“There’s a community of us that’s really just supporting each other and rooting for each other,” YBCA’s Imah says. “And I think that is probably one of the most beautiful things, especially when you compound that with gentrification, displacement and inability to fund for your basic needs and seeing individuals in other spaces like tech thriving.”\u003c/p>\n\u003cp>Along with YBCA’s announcement of the Creative Communities Coalition for Guaranteed Income, the organization also published an \u003ca href=\"https://ybca.org/learnings-on-equity-solidarity/\" target=\"_blank\" rel=\"noopener noreferrer\">accountability statement\u003c/a> that acknowledges previous criticism of how the program was rolled out in May 2021. “We heard from many community leaders, activists, and organizations the ways in which our outreach and engagement efforts for SF-GIPA fell short. Pivotal conversation that followed affirmed that the pilot design process diminished authentic community input and created barriers around the application process most hurtful to BIPOC artists,” the statement reads in part.\u003c/p>\n\u003cp>Imah explained that some of YBCA’s advisors, including some leaders of the six Creative Communities Coalition organizations, were critical of the program’s rollout at first. “Now they’re working with us to build [the second phase] in the way that is truly in line with what they believe should have been done in the first place,” she says. “I think for me, that is a healing. That is a healing and an accountability that is rarely seen as a story of an institution, not only being accountable to themselves, being accountable to the community, and then doing the work to make it right.”\u003c/p>\n\u003cfigure id=\"attachment_13915368\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13915368\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/Kar-Yin-YBCAGIP-3.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kar Yin Tham in Chinatown. \u003ccite>(Alexa Trevino )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Imah acknowledges that implementing SF-GIPA was an imperfect process. Even though artists have received payments since at least February, it took until now to announce the existence of the second cohort, she says, due to a combination of \u003ca href=\"https://ybca.org/ybca-celebrates-deborah-cullinan/\" target=\"_blank\" rel=\"noopener noreferrer\">leadership changes at YBCA\u003c/a>, a small, stretched-thin SF-GIPA team and changes within the Creative Communities Coalition organizations themselves. Furthermore, the coalition strived for a consensus-based approach, and hit some delays due to COVID illness within the participating group, Imah explains.\u003c/p>\n\u003cp>In a city like San Francisco, there’s far greater need than a pilot like this one could ever satisfy. Imah hopes SF-GIPA will become a permanent solution to fund the arts as the cost of housing and basic needs remains out of reach for many.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is why we need guaranteed income from the city, and on the federal and on the state level,” she says. “This can’t be the burden of small organizations to [put] a Band-Aid on what is a systemic issue.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Nine Bay Area Books from 2021 to Celebrate our Survival",
"headTitle": "Nine Bay Area Books from 2021 to Celebrate our Survival | KQED",
"content": "\u003cp>It was the best of times, it was the worst of times. It was a year like no other, and yet, at times, it seemed quite humdrum. Pre-vaccine. Post-nothing. Often more distant than social.\u003c/p>\n\u003cp>But hey, at least we had books.\u003c/p>\n\u003cp>In 2021, Bay Area authors helped us to survive another year of pandemic with their imaginations, heart, and vitality. Although quite different in form and content, what the books on this list have in common is a personable, often joyous connection with the reader. To read any one of them is like inviting a good friend over for a drink and having one of those great, expansive conversations you never want to end.\u003c/p>\n\u003cp>Invite these books into your home, and reopen yourself to an as-yet-unwritten future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg\" alt=\"\" width=\"600\" height=\"902\" class=\"aligncenter size-full wp-image-13907111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000-160x241.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.fsgoriginals.com/books/100-boyfriends-1690eec1-f827-4e41-b862-63ac5d919886\">100 Boyfriends\u003c/a>,’ by Brontez Purnell\u003c/h2>\n\u003cp>These lusty, interconnected shorts elaborate on themes that have frequently punctuated Purnell’s work: his Southern upbringing, his punk rock resume of crap jobs and warehouse living, his exuberant sexual anarchy. \u003cem>100 Boyfriends\u003c/em> (FSG Originals, $15) is a voyeuristic joyride through a libidinous landscape of lovers, many of whom bear droll monikers such as “Boyfriend 007,” “Boyfriend 2.0” “Boyfriend 666 (the Satanist).” But beyond a litany of amorous misadventure told by multiple narrators, Purnell celebrates the chaotic margins of the Bay Area and beyond, while still leaving room for moments of tenderness, introspection, and even grief—providing a welcome antidote to a prevalent narrative that the Bay Area has lost its freaky edge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg\" alt=\"\" width=\"600\" height=\"890\" class=\"aligncenter size-full wp-image-13907105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.blackfreighterpress.com/catalog/p/baby-axolotls-y-old-pochos\">Baby Axolotls y Old Pochos\u003c/a>,’ by Josiah Luis Alderete\u003c/h2>\n\u003cp>It’s been a pretty big year for Josiah Luis Alderete. First, the City Lights bookseller published \u003cem>Baby Axolotls y Old Pochos\u003c/em> (Black Freighter Press, $20). And then he went and bought a whole bookstore of his own in the Mission District of San Francisco (Medicine for Nightmares, with J.K. Fowler and Tân Khánh Cao). In his conversational, Spanglish-inflected poetry, Alderate brings to life a tight-knit community surviving with grace under unimaginable pressure. It’s a compassionate recuerdo of family, friends, and identity that straddles many borders—internal and external—and a vivid homage to an increasingly colonized Mission still inhabited by bilinguistas and Pochos, Tías and Tezcatlipoca.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg\" alt=\"\" width=\"600\" height=\"744\" class=\"aligncenter size-full wp-image-13907112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_-160x198.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://citylights.com/poetry/blood-on-the-fog/\">Blood on the Fog\u003c/a>,’ by Tongo Eisen-Martin\u003c/h2>\n\u003cp>To see San Francisco’s eighth poet laureate Tongo Eisen-Martin read is to get a crash course on how poetry can be a wholly embodied artform. Dynamic and assured, Eisen-Martin inhabits the living, breathing margins of his poems sometimes as a warrior, sometimes as a ghost; sometimes an explosion, sometimes as a wisp of smoke. In his third book, \u003cem>Blood in the Fog\u003c/em> (City Lights Books, $15.95), he reveals the layers of a revolutionary experience from the inside out, excavating family histories, fragments of song, Black power and Marxist theory, structural violence and the candor of the street with richly invoked language and intricate form. “I am lucky to be a metaphor for no one,” Eisen-Martin writes. The metaphor resides within.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg\" alt=\"\" width=\"600\" height=\"910\" class=\"aligncenter size-full wp-image-13907106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200-160x243.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://wwnorton.com/books/9780393652666\">Four Lost Cities\u003c/a>,’ by Annalee Newitz\u003c/h2>\n\u003cp>If you’ve read Annalee Newitz’ \u003cem>Scatter, Adapt, and Remember\u003c/em>, you’ve already encountered their theories about how humanity might survive the ongoing Holocene extinction event, including adapting our cities to address climate change and other perils. In \u003cem>Four Lost Cities\u003c/em> (W.W. Norton, $26.95), Newitz revisits the theme of adaptation by positioning the collapse of certain urban environments as a natural part of their evolution. Investigating the demise of four cities—from Çatalhöyük to Cahokia—Newitz looks into their unique cultural and environmental markers in order to determine what external and internal circumstances could lead to their “disappearance.” Captivating and thought-provoking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"887\" class=\"aligncenter size-full wp-image-13907107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://groveatlantic.com/book/gordo/\">Gordo\u003c/a>,’ by Jaime Cortez\u003c/h2>\n\u003cp>One of the best readings I’ve ever attended was at a LitQuake, perhaps 10 years ago, where I saw Jaime Cortez read “The Jesus Donut”—the story that kicks off the collection of shorts. Ever since, I’ve eagerly awaited this joyous book of short stories centered on a 1970s migrant community in Watsonville. With a loving touch, Cortez imbues his tales with humor, dignity, and heart, frequently (though not exclusively) told through the eyes of a bullied child, called “Gordo” by most. \u003cem>Gordo\u003c/em> (Grove Atlantic, $16) is a wonderfully detailed portrait of a specific time and place that nonetheless feels completely of the moment, and makes for a deeply satisfying read.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg\" alt=\"\" width=\"600\" height=\"900\" class=\"aligncenter size-full wp-image-13907108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9780374602512/inflamed\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>,’ Rupa Marya and Raj Patel\u003c/h2>\n\u003cp>Physician-musician-activist-author Rupa Marya is a true renaissance person, seemingly capable of taking full part in any discipline or area of expertise. In \u003cem>Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/em> (Macmillan, $30 hardcover; $14.99 ebook), co-written with author Raj Patel, Marya ties the systems of the human body to the systems of the natural world in order to demonstrate how the dire effects of colonization, capitalism, and other human-made oppressive systems affect not only the physical form, but our interconnected well-being. It’s an urgent call from the field of medicine to address the very real racial, gender, and socio-economic inequities built as firmly into “health care” as any other institutional structure in a society where commerce comes before the commons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LastNomad.lg_.jpg\" alt=\"\" width=\"600\" height=\"909\" class=\"aligncenter size-full wp-image-13907113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.workman.com/products/the-last-nomad/hardback\">The Last Nomad: Coming of Age in the Somali Desert\u003c/a>,’ by Shugri Said Salh\u003c/h2>\n\u003cp>In the first line of her stunning memoir, Shugri Said Salh admits that of course she’s not literally the last nomad. But rather, that she’s the last of her family line to have been nomadic—as even her siblings had remained living in cities and villages while Salh spent a good portion of her childhood herding goats across the Somali desert under the watchful eye of her beloved \u003cem>ayeeyo\u003c/em> (Grandmother). In \u003cem>The Last Nomad\u003c/em> (Workman Publishing, $26.95), Salh introduces us to the spare, harsh beauty of the desert and the deeply engrained rituals and traditions that kept her connected to her ancestral paths, until devastating war forced her and her family to flee the country. A clear-eyed, richly-remembered memoir that takes its readers on the journey of a lifetime—from Somalia to Sonoma County.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg\" alt=\"\" width=\"600\" height=\"928\" class=\"aligncenter size-full wp-image-13907109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900-160x247.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9781250800022/neversayyoucantsurvive\">Never Say You Can’t Survive\u003c/a>,’ Charlie Jane Anders\u003c/h2>\n\u003cp>If you, like myself, found yourself in need of gently reassuring pep talk a time or twenty over this past year, then this is the book for you. \u003cem>Never Say You Can’t Survive\u003c/em> (Macmillan $26.99 hardcover; ebook $13.99) is a friendly hug from your writing bestie who came to your coffee date prepared with a bunch of savvy advice and side of life coaching. The longtime chief cat wrangler of reading series Writers With Drinks, and an award-winning fantasy writer, Anders’ personable essays reflect on the life-changing potential good writing—and good writing practice—can have, for readers and writers both. If you’d rather just skip the processing and read her fiction instead, Anders published two other books this year as well: intergalactic YA adventure \u003cem>Victories Greater Than Death,\u003c/em> and short story collection \u003cem>Even Greater Mistakes\u003c/em>. A phenomenal triple-header!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"906\" class=\"aligncenter size-full wp-image-13907110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.harpercollins.com/products/squad-maggie-tokuda-hall?variant=33051647508514\">Squad\u003c/a>,’ by Maggie Tokuda-Hall, illustrated by Lisa Sterle\u003c/h2>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If you read just one teenage werewolf feminist revenge fantasy this year, make it \u003cem>Squad\u003c/em> (HarperCollins, $14.99), by Maggie Tokuda-Hall—a (literally) ripping yarn about a clique of popular girls who turn into a pack of ravenous, anti-patriarchal wolves during the full moon who feast specifically upon predatory young men. \u003cem>Squad\u003c/em> may be marketed as a YA graphic novel, but it’s honestly for anyone looking for humor and bite; a \u003cem>Mean Girls\u003c/em> for monster maniacs. As Tokuda-Hall’s squad alternate between supporting each other and squabbling over their internal power dynamics, an accidental death too close to home threatens to reveal their murderous secrets. Lisa Sterle’s gorgeously saturated artwork fleshes out their world with vigor and verve.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the best of times, it was the worst of times. It was a year like no other, and yet, at times, it seemed quite humdrum. Pre-vaccine. Post-nothing. Often more distant than social.\u003c/p>\n\u003cp>But hey, at least we had books.\u003c/p>\n\u003cp>In 2021, Bay Area authors helped us to survive another year of pandemic with their imaginations, heart, and vitality. Although quite different in form and content, what the books on this list have in common is a personable, often joyous connection with the reader. To read any one of them is like inviting a good friend over for a drink and having one of those great, expansive conversations you never want to end.\u003c/p>\n\u003cp>Invite these books into your home, and reopen yourself to an as-yet-unwritten future.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg\" alt=\"\" width=\"600\" height=\"902\" class=\"aligncenter size-full wp-image-13907111\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_100Boyfriends_665x1000-160x241.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.fsgoriginals.com/books/100-boyfriends-1690eec1-f827-4e41-b862-63ac5d919886\">100 Boyfriends\u003c/a>,’ by Brontez Purnell\u003c/h2>\n\u003cp>These lusty, interconnected shorts elaborate on themes that have frequently punctuated Purnell’s work: his Southern upbringing, his punk rock resume of crap jobs and warehouse living, his exuberant sexual anarchy. \u003cem>100 Boyfriends\u003c/em> (FSG Originals, $15) is a voyeuristic joyride through a libidinous landscape of lovers, many of whom bear droll monikers such as “Boyfriend 007,” “Boyfriend 2.0” “Boyfriend 666 (the Satanist).” But beyond a litany of amorous misadventure told by multiple narrators, Purnell celebrates the chaotic margins of the Bay Area and beyond, while still leaving room for moments of tenderness, introspection, and even grief—providing a welcome antidote to a prevalent narrative that the Bay Area has lost its freaky edge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg\" alt=\"\" width=\"600\" height=\"890\" class=\"aligncenter size-full wp-image-13907105\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_BabyAxolotlsOldPochos_722x1071-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.blackfreighterpress.com/catalog/p/baby-axolotls-y-old-pochos\">Baby Axolotls y Old Pochos\u003c/a>,’ by Josiah Luis Alderete\u003c/h2>\n\u003cp>It’s been a pretty big year for Josiah Luis Alderete. First, the City Lights bookseller published \u003cem>Baby Axolotls y Old Pochos\u003c/em> (Black Freighter Press, $20). And then he went and bought a whole bookstore of his own in the Mission District of San Francisco (Medicine for Nightmares, with J.K. Fowler and Tân Khánh Cao). In his conversational, Spanglish-inflected poetry, Alderate brings to life a tight-knit community surviving with grace under unimaginable pressure. It’s a compassionate recuerdo of family, friends, and identity that straddles many borders—internal and external—and a vivid homage to an increasingly colonized Mission still inhabited by bilinguistas and Pochos, Tías and Tezcatlipoca.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg\" alt=\"\" width=\"600\" height=\"744\" class=\"aligncenter size-full wp-image-13907112\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/Tongo.Blood_.lg_-160x198.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://citylights.com/poetry/blood-on-the-fog/\">Blood on the Fog\u003c/a>,’ by Tongo Eisen-Martin\u003c/h2>\n\u003cp>To see San Francisco’s eighth poet laureate Tongo Eisen-Martin read is to get a crash course on how poetry can be a wholly embodied artform. Dynamic and assured, Eisen-Martin inhabits the living, breathing margins of his poems sometimes as a warrior, sometimes as a ghost; sometimes an explosion, sometimes as a wisp of smoke. In his third book, \u003cem>Blood in the Fog\u003c/em> (City Lights Books, $15.95), he reveals the layers of a revolutionary experience from the inside out, excavating family histories, fragments of song, Black power and Marxist theory, structural violence and the candor of the street with richly invoked language and intricate form. “I am lucky to be a metaphor for no one,” Eisen-Martin writes. The metaphor resides within.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg\" alt=\"\" width=\"600\" height=\"910\" class=\"aligncenter size-full wp-image-13907106\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_FourLostCities_800x1200-160x243.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://wwnorton.com/books/9780393652666\">Four Lost Cities\u003c/a>,’ by Annalee Newitz\u003c/h2>\n\u003cp>If you’ve read Annalee Newitz’ \u003cem>Scatter, Adapt, and Remember\u003c/em>, you’ve already encountered their theories about how humanity might survive the ongoing Holocene extinction event, including adapting our cities to address climate change and other perils. In \u003cem>Four Lost Cities\u003c/em> (W.W. Norton, $26.95), Newitz revisits the theme of adaptation by positioning the collapse of certain urban environments as a natural part of their evolution. Investigating the demise of four cities—from Çatalhöyük to Cahokia—Newitz looks into their unique cultural and environmental markers in order to determine what external and internal circumstances could lead to their “disappearance.” Captivating and thought-provoking.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"887\" class=\"aligncenter size-full wp-image-13907107\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Gordo_1000x1500-160x237.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://groveatlantic.com/book/gordo/\">Gordo\u003c/a>,’ by Jaime Cortez\u003c/h2>\n\u003cp>One of the best readings I’ve ever attended was at a LitQuake, perhaps 10 years ago, where I saw Jaime Cortez read “The Jesus Donut”—the story that kicks off the collection of shorts. Ever since, I’ve eagerly awaited this joyous book of short stories centered on a 1970s migrant community in Watsonville. With a loving touch, Cortez imbues his tales with humor, dignity, and heart, frequently (though not exclusively) told through the eyes of a bullied child, called “Gordo” by most. \u003cem>Gordo\u003c/em> (Grove Atlantic, $16) is a wonderfully detailed portrait of a specific time and place that nonetheless feels completely of the moment, and makes for a deeply satisfying read.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg\" alt=\"\" width=\"600\" height=\"900\" class=\"aligncenter size-full wp-image-13907108\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Inflamed_900x1350-160x240.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9780374602512/inflamed\">Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/a>,’ Rupa Marya and Raj Patel\u003c/h2>\n\u003cp>Physician-musician-activist-author Rupa Marya is a true renaissance person, seemingly capable of taking full part in any discipline or area of expertise. In \u003cem>Inflamed: Deep Medicine and the Anatomy of Injustice\u003c/em> (Macmillan, $30 hardcover; $14.99 ebook), co-written with author Raj Patel, Marya ties the systems of the human body to the systems of the natural world in order to demonstrate how the dire effects of colonization, capitalism, and other human-made oppressive systems affect not only the physical form, but our interconnected well-being. It’s an urgent call from the field of medicine to address the very real racial, gender, and socio-economic inequities built as firmly into “health care” as any other institutional structure in a society where commerce comes before the commons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/LastNomad.lg_.jpg\" alt=\"\" width=\"600\" height=\"909\" class=\"aligncenter size-full wp-image-13907113\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/LastNomad.lg_-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.workman.com/products/the-last-nomad/hardback\">The Last Nomad: Coming of Age in the Somali Desert\u003c/a>,’ by Shugri Said Salh\u003c/h2>\n\u003cp>In the first line of her stunning memoir, Shugri Said Salh admits that of course she’s not literally the last nomad. But rather, that she’s the last of her family line to have been nomadic—as even her siblings had remained living in cities and villages while Salh spent a good portion of her childhood herding goats across the Somali desert under the watchful eye of her beloved \u003cem>ayeeyo\u003c/em> (Grandmother). In \u003cem>The Last Nomad\u003c/em> (Workman Publishing, $26.95), Salh introduces us to the spare, harsh beauty of the desert and the deeply engrained rituals and traditions that kept her connected to her ancestral paths, until devastating war forced her and her family to flee the country. A clear-eyed, richly-remembered memoir that takes its readers on the journey of a lifetime—from Somalia to Sonoma County.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg\" alt=\"\" width=\"600\" height=\"928\" class=\"aligncenter size-full wp-image-13907109\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_NeverSayYouCantSurvive_600x900-160x247.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://us.macmillan.com/books/9781250800022/neversayyoucantsurvive\">Never Say You Can’t Survive\u003c/a>,’ Charlie Jane Anders\u003c/h2>\n\u003cp>If you, like myself, found yourself in need of gently reassuring pep talk a time or twenty over this past year, then this is the book for you. \u003cem>Never Say You Can’t Survive\u003c/em> (Macmillan $26.99 hardcover; ebook $13.99) is a friendly hug from your writing bestie who came to your coffee date prepared with a bunch of savvy advice and side of life coaching. The longtime chief cat wrangler of reading series Writers With Drinks, and an award-winning fantasy writer, Anders’ personable essays reflect on the life-changing potential good writing—and good writing practice—can have, for readers and writers both. If you’d rather just skip the processing and read her fiction instead, Anders published two other books this year as well: intergalactic YA adventure \u003cem>Victories Greater Than Death,\u003c/em> and short story collection \u003cem>Even Greater Mistakes\u003c/em>. A phenomenal triple-header!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg\" alt=\"\" width=\"600\" height=\"906\" class=\"aligncenter size-full wp-image-13907110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/12/BookCover_Squad_1000x1500-160x242.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003ch2>‘\u003ca href=\"https://www.harpercollins.com/products/squad-maggie-tokuda-hall?variant=33051647508514\">Squad\u003c/a>,’ by Maggie Tokuda-Hall, illustrated by Lisa Sterle\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>If you read just one teenage werewolf feminist revenge fantasy this year, make it \u003cem>Squad\u003c/em> (HarperCollins, $14.99), by Maggie Tokuda-Hall—a (literally) ripping yarn about a clique of popular girls who turn into a pack of ravenous, anti-patriarchal wolves during the full moon who feast specifically upon predatory young men. \u003cem>Squad\u003c/em> may be marketed as a YA graphic novel, but it’s honestly for anyone looking for humor and bite; a \u003cem>Mean Girls\u003c/em> for monster maniacs. As Tokuda-Hall’s squad alternate between supporting each other and squabbling over their internal power dynamics, an accidental death too close to home threatens to reveal their murderous secrets. Lisa Sterle’s gorgeously saturated artwork fleshes out their world with vigor and verve.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Looking Ahead to Bay Area Books to Read This Fall",
"headTitle": "Looking Ahead to Bay Area Books to Read This Fall | KQED",
"content": "\u003cp>The Bay Area book scene has been boiling hot this year, with this summer alone bringing Alexandra Kleeman’s Hollywood satire meets Cli-Fi novel \u003cem>Something New Under The Sun\u003c/em>; Anthony Veasna So’s \u003cem>Afterparties\u003c/em>, a posthumous collection of short stories centering around Cambodian Americans; and Jaime Cortez’s \u003cem>Gordo\u003c/em>, a set of stories about migrant laborers in Santa Cruz County.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>This fall’s lineup of books keeps this focus on social justice, whether advocated through fiction, non-fiction, or poetry. Tongo Eisen-Martin aims to capture the breadth of the Black experience while Rabih Alameddine worries about the unrepresentability of the refugee suffering; Angela Davis pushes for the abolition of prisons and police while Gene Slater mourns California’s history of white backlash to racially integrated neighborhoods.\u003c/p>\n\u003cp>Live events, put on hold during the pandemic, have made a slow recovery as the public readjusts to new restrictions. The most ambitious event in the calendar? October’s Litquake, with the in-person return of the pure pandemonium that is Lit Crawl. And what’s a good bar crawl without a good pregame? Here are seven shots and one chaser.\u003c/p>\n\u003cfigure id=\"attachment_13902321\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902321 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/the_archer-160x246.jpg\" alt=\"\" width=\"160\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer.jpg 832w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Shruti Swamy’s “The Archer.” \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Archer’\u003c/h2>\n\u003cp>\u003cem>By Shruti Swamy\u003cbr>\nPublishes Sept. 7\u003c/em>\u003c/p>\n\u003cp>Shruti Swamy made her debut last year with \u003cem>A House is a Body\u003c/em>, a short story collection focusing on motherhood, terror and the climate crisis. In an interview with \u003cem>Electric Lit\u003c/em>, she summarized the two questions with which her work grapples: “How do we live here at the edge? How do we find meaning?” If her stories focused on the former, \u003cem>The Archer\u003c/em> pivots to the latter: it is a künstlerroman focused on a young kathak dancer coming to terms with the meaning of art and life amidst the turmoil of 1970s Bombay.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902322\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902322 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rabih Alameddine’s “The Wrong End of the Telescope.” \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Wrong End of the Telescope’\u003c/h2>\n\u003cp>\u003cem>By Rabih Alameddine\u003cbr>\nPublishes Sept. 19\u003c/em>\u003c/p>\n\u003cp>San Francisco author Rabih Alameddine is known for his careful portraits of LGBTQ+ Arab Americans in the Bay Area. Another such figure arrives in September with \u003cem>The Wrong End of the Telescope\u003c/em>’s Mina Simpson: a Lebanese doctor, estranged from her family after her transition, currently flying halfway across the globe to help fleeing Syrian refugees in Greece access medical care. Herself displaced from her native Beirut as a child, she bonds with the ailing matriarch Sumaiya, who desperately needs a liver cancer treatment only available in the well-stocked hospitals of Athens.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902323\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902323 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate.jpg 853w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Gene Slater’s “Freedom to Discriminate.” \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Freedom to Discriminate’\u003c/h2>\n\u003cp>\u003cem>By Gene Slater\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>California’s shameful 1964 Proposition 14 used the ballot amendment process to put racist fear to a public vote: Can housing discriminate on the basis of race? 65% of Californians voted yes. Longtime affordable housing advocate Gene Slater teases out the complex history of this vote, beginning with the fact that the nation’s first single-family zoning regulations, which created all-white housing tracts, were enacted close to home in Berkeley. \u003cem>Freedom to Discriminate\u003c/em> shows how realtors organized to suppress facts, fight civil rights legislation and hammer home a “color-blind” message of individual liberty that would become an influential mantra in the budding conservative movement.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902325\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902325 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg\" alt=\"\" width=\"160\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-800x991.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-1020x1264.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-768x952.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog.jpeg 1117w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tongo Eisen-Martin’s “Blood on the Fog.” \u003ccite>(City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Blood on the Fog’\u003c/h2>\n\u003cp>\u003cem>By Tongo Eisen-Martin\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>Tongo Eisen-Martin’s poems “yell, shriek, whisper, mumble in a mosaic of disenfranchised voices,” as a KQED review of his second poetry collection \u003cem>Heaven is All Goodbyes\u003c/em> put it. Now, San Francisco’s current poet laureate releases his third book—his first “on the job”—continuing his exploration of jazz rhythms, city life and the call of Black liberation.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902344\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/heather_flescher-160x216.jpg\" alt=\"\" width=\"160\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher.jpg 517w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">A headshot of poet Heather Flescher. \u003ccite>(Old Capitol Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Monterey Poetry Festival 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003c/em>\u003c/p>\n\u003cp>The spacious neighborhood standby Old Capitol Books was forced to shut down during the pandemic—but, in a happy ending, it reopened this spring just a couple blocks away from its old location. Consider the weekend-long Monterey Poetry Festival at Old Capitol Books a tribute to independent bookstores, which connect readers with local artists and writers like nothing else. This year’s slate of events includes “A Night of Trans Poetry,” a showcase of CSU Monterey Bay students and a fundraiser for undocumented rights advocacy group No More Deaths.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885566 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg\" alt=\"\" width=\"160\" height=\"120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikes to Books Eight-Year Anniversary Ride\u003c/h2>\n\u003cp>\u003cem>Oct. 2\u003c/em>\u003c/p>\n\u003cp>The recently passed Lawrence Ferlinghetti pushed the city of San Francisco to rename several of its streets after famous local writers: Jack Kerouac Alley, William Saroyan Place and, eventually, his own Via Ferlinghetti. Bikes to Books is a tribute to the literary legacy of the city that Ferlinghetti sought to enshrine; it is an on-bike street tour of the various offices, apartments, and cafes that the literary stars of the past frequented. Plus, it ends right outside City Lights—perfect timing to sit down with a good book.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902324\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902324 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/angeladavis-160x237.jpg\" alt=\"\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the third edition of Angela Davis’ autobiography. \u003ccite>(Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Angela Davis: An Autobiography’ & ‘Abolition. Feminism. Now.’\u003c/h2>\n\u003cp>\u003cem>Publishes Oct. 19; Oct. 26\u003c/em>\u003c/p>\n\u003cp>Angela Davis’ autobiography, first published in 1974, is a classic of radical literature. Now, Haymarket Books publishes the third edition of the book with a new introduction by Davis reflecting on her intellectual development from the ’80s (at the time of the second publication of the book) until the present. The new edition is accompanied by the publication of the \u003cem>Abolition. Feminism. Now.\u003c/em> manifesto on divesting from jails and policing, co-written by Davis, Gina Dent, Erica Meiners and Beth E. Richie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902345\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/litquake-160x214.jpg\" alt=\"\" width=\"160\" height=\"214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake.jpg 337w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">SF Writer’s Grotto holds court at Ritual Roasters during the 2008 Lit Crawl. \u003ccite>(Christine Krieg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Litquake 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 7–23\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Bay Area’s biggest literary event of the year returns as a half-virtual, half-indoors amalgam of talks, readings and panels. This year’s guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster. The iconic Lit Crawl also returns after going virtual during the pandemic, which will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area book scene has been boiling hot this year, with this summer alone bringing Alexandra Kleeman’s Hollywood satire meets Cli-Fi novel \u003cem>Something New Under The Sun\u003c/em>; Anthony Veasna So’s \u003cem>Afterparties\u003c/em>, a posthumous collection of short stories centering around Cambodian Americans; and Jaime Cortez’s \u003cem>Gordo\u003c/em>, a set of stories about migrant laborers in Santa Cruz County.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/tag/fallarts2021\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-13901773\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg\" alt=\"\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/FallArtsPreview2021_400x400_blue-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003c/a>This fall’s lineup of books keeps this focus on social justice, whether advocated through fiction, non-fiction, or poetry. Tongo Eisen-Martin aims to capture the breadth of the Black experience while Rabih Alameddine worries about the unrepresentability of the refugee suffering; Angela Davis pushes for the abolition of prisons and police while Gene Slater mourns California’s history of white backlash to racially integrated neighborhoods.\u003c/p>\n\u003cp>Live events, put on hold during the pandemic, have made a slow recovery as the public readjusts to new restrictions. The most ambitious event in the calendar? October’s Litquake, with the in-person return of the pure pandemonium that is Lit Crawl. And what’s a good bar crawl without a good pregame? Here are seven shots and one chaser.\u003c/p>\n\u003cfigure id=\"attachment_13902321\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902321 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/the_archer-160x246.jpg\" alt=\"\" width=\"160\" height=\"246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-160x246.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-800x1231.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer-768x1182.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/the_archer.jpg 832w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Shruti Swamy’s “The Archer.” \u003ccite>(Algonquin Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Archer’\u003c/h2>\n\u003cp>\u003cem>By Shruti Swamy\u003cbr>\nPublishes Sept. 7\u003c/em>\u003c/p>\n\u003cp>Shruti Swamy made her debut last year with \u003cem>A House is a Body\u003c/em>, a short story collection focusing on motherhood, terror and the climate crisis. In an interview with \u003cem>Electric Lit\u003c/em>, she summarized the two questions with which her work grapples: “How do we live here at the edge? How do we find meaning?” If her stories focused on the former, \u003cem>The Archer\u003c/em> pivots to the latter: it is a künstlerroman focused on a young kathak dancer coming to terms with the meaning of art and life amidst the turmoil of 1970s Bombay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902322\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902322 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg\" alt=\"\" width=\"160\" height=\"241\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/wrong_end_of_the_telescope.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Rabih Alameddine’s “The Wrong End of the Telescope.” \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘The Wrong End of the Telescope’\u003c/h2>\n\u003cp>\u003cem>By Rabih Alameddine\u003cbr>\nPublishes Sept. 19\u003c/em>\u003c/p>\n\u003cp>San Francisco author Rabih Alameddine is known for his careful portraits of LGBTQ+ Arab Americans in the Bay Area. Another such figure arrives in September with \u003cem>The Wrong End of the Telescope\u003c/em>’s Mina Simpson: a Lebanese doctor, estranged from her family after her transition, currently flying halfway across the globe to help fleeing Syrian refugees in Greece access medical care. Herself displaced from her native Beirut as a child, she bonds with the ailing matriarch Sumaiya, who desperately needs a liver cancer treatment only available in the well-stocked hospitals of Athens.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902323\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902323 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg\" alt=\"\" width=\"160\" height=\"240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/freedom_to_discriminate.jpg 853w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Gene Slater’s “Freedom to Discriminate.” \u003ccite>(Heyday Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Freedom to Discriminate’\u003c/h2>\n\u003cp>\u003cem>By Gene Slater\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>California’s shameful 1964 Proposition 14 used the ballot amendment process to put racist fear to a public vote: Can housing discriminate on the basis of race? 65% of Californians voted yes. Longtime affordable housing advocate Gene Slater teases out the complex history of this vote, beginning with the fact that the nation’s first single-family zoning regulations, which created all-white housing tracts, were enacted close to home in Berkeley. \u003cem>Freedom to Discriminate\u003c/em> shows how realtors organized to suppress facts, fight civil rights legislation and hammer home a “color-blind” message of individual liberty that would become an influential mantra in the budding conservative movement.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902325\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902325 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg\" alt=\"\" width=\"160\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-160x198.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-800x991.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-1020x1264.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog-768x952.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/blood_on_the_fog.jpeg 1117w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Tongo Eisen-Martin’s “Blood on the Fog.” \u003ccite>(City Lights)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Blood on the Fog’\u003c/h2>\n\u003cp>\u003cem>By Tongo Eisen-Martin\u003cbr>\nPublishes Sept. 21\u003c/em>\u003c/p>\n\u003cp>Tongo Eisen-Martin’s poems “yell, shriek, whisper, mumble in a mosaic of disenfranchised voices,” as a KQED review of his second poetry collection \u003cem>Heaven is All Goodbyes\u003c/em> put it. Now, San Francisco’s current poet laureate releases his third book—his first “on the job”—continuing his exploration of jazz rhythms, city life and the call of Black liberation.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902344\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/heather_flescher-160x216.jpg\" alt=\"\" width=\"160\" height=\"216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/heather_flescher.jpg 517w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">A headshot of poet Heather Flescher. \u003ccite>(Old Capitol Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Monterey Poetry Festival 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 1–3\u003c/em>\u003c/p>\n\u003cp>The spacious neighborhood standby Old Capitol Books was forced to shut down during the pandemic—but, in a happy ending, it reopened this spring just a couple blocks away from its old location. Consider the weekend-long Monterey Poetry Festival at Old Capitol Books a tribute to independent bookstores, which connect readers with local artists and writers like nothing else. This year’s slate of events includes “A Night of Trans Poetry,” a showcase of CSU Monterey Bay students and a fundraiser for undocumented rights advocacy group No More Deaths.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13885566\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13885566 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg\" alt=\"\" width=\"160\" height=\"120\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Mikl-em_KennethRexroth_BikestoBooks2013_photocredit_NicoleGluckstern_kqed.jpeg 1824w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Mikl-em reading as Kenneth Rexroth for Bikes to Books, outside City Lights Books. \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Bikes to Books Eight-Year Anniversary Ride\u003c/h2>\n\u003cp>\u003cem>Oct. 2\u003c/em>\u003c/p>\n\u003cp>The recently passed Lawrence Ferlinghetti pushed the city of San Francisco to rename several of its streets after famous local writers: Jack Kerouac Alley, William Saroyan Place and, eventually, his own Via Ferlinghetti. Bikes to Books is a tribute to the literary legacy of the city that Ferlinghetti sought to enshrine; it is an on-bike street tour of the various offices, apartments, and cafes that the literary stars of the past frequented. Plus, it ends right outside City Lights—perfect timing to sit down with a good book.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902324\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13902324 size-thumbnail\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/angeladavis-160x237.jpg\" alt=\"\" width=\"160\" height=\"237\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/angeladavis.jpg 400w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">The cover of the third edition of Angela Davis’ autobiography. \u003ccite>(Haymarket Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘Angela Davis: An Autobiography’ & ‘Abolition. Feminism. Now.’\u003c/h2>\n\u003cp>\u003cem>Publishes Oct. 19; Oct. 26\u003c/em>\u003c/p>\n\u003cp>Angela Davis’ autobiography, first published in 1974, is a classic of radical literature. Now, Haymarket Books publishes the third edition of the book with a new introduction by Davis reflecting on her intellectual development from the ’80s (at the time of the second publication of the book) until the present. The new edition is accompanied by the publication of the \u003cem>Abolition. Feminism. Now.\u003c/em> manifesto on divesting from jails and policing, co-written by Davis, Gina Dent, Erica Meiners and Beth E. Richie.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13902345\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-thumbnail wp-image-13902345\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/litquake-160x214.jpg\" alt=\"\" width=\"160\" height=\"214\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/litquake.jpg 337w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">SF Writer’s Grotto holds court at Ritual Roasters during the 2008 Lit Crawl. \u003ccite>(Christine Krieg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Litquake 2021\u003c/h2>\n\u003cp>\u003cem>Oct. 7–23\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 Bay Area’s biggest literary event of the year returns as a half-virtual, half-indoors amalgam of talks, readings and panels. This year’s guests include Isabel Allende, Tommy Orange, Dave Eggers, Chang-rae Lee and Paul Auster. The iconic Lit Crawl also returns after going virtual during the pandemic, which will take place, as customary, at various locations around San Francisco’s Mission District, with festival-goers stumbling between venues like barflies.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Poets Organize Alongside 100 Million Americans Living in Poverty in New Doc",
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"content": "\u003cp>This National Poetry Month has shown we need to keep policy change at the forefront of our thinking. As a bit of a perfect union of art and politics, this Saturday at 2pm there will be a virtual free debut screening of the new film\u003cem> \u003ca style=\"color: #41a62a\" href=\"https://www.eventbrite.com/e/many-fires-this-time-we-the-100-million-film-premiere-tickets-149610036647\" target=\"_blank\" rel=\"noopener noreferrer\">Many Fires This Time\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The film, referred to as a “poetic docudrama,” fuses spoken word, dance and filmed community conversations to bring the viewer into the research on the \u003ca href=\"https://www.policylink.org/our-work/100-million-economically-insecure\" target=\"_blank\" rel=\"noopener noreferrer\">one hundred million Americans\u003c/a> living in economic insecurity.\u003c/p>\n\u003cfigure id=\"attachment_13896278\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896278\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-800x491.png\" alt=\"Poet Diana Cervera and filmmaker Jason R.A. Foster converse during the filming of Many Fires This Time.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-1536x943.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-2048x1257.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-1920x1178.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Diana Cervera and filmmaker Jason R.A. Foster converse during the filming of Many Fires This Time. \u003ccite>(Sienna Pinderhughes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not an exhaustive foray into the issues that impact people living below the poverty line,” says filmmaker Jason R.A. Foster. “It’s a part of the conversation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Foster, a New Orleans-based filmmaker, says the 70-minute film, “\u003c/span>\u003cspan style=\"font-weight: 400\">could’ve been all data and stats… \u003c/span>But that’s not getting to the very core of what the stories are, and the humanity of these people.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead of charts and graphs, there’s graphic language about police brutality in Chicago, immigration in Tijuana, and the intersection of economic and environmental issues in Kentucky. While dealing with topics like \u003c/span>\u003cspan style=\"font-weight: 400\">homophobia, workers’ rights and imperialism, the film manages to feature organizations doing work on the ground, like Oakland’s \u003ca href=\"http://mujeresunidas.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Mujeres Unidas y Activas (MUA)\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In-between excerpts taken from these heavy discussions are performances from \u003ca href=\"https://www.facebook.com/kendria.k.harris\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Kendria “K-Love” Harris\u003c/a>, \u003ca href=\"https://www.humansofcentralappalachia.org/stories/2016/1/23/misty-skaggs\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Misty Skaggs\u003c/a>, \u003ca href=\"http://dianacervera.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Diana Cervera\u003c/a>, \u003ca href=\"https://www.marvinkwhite.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Marvin K. White,\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.dancingrounds.org/jguyton\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Guyton\u003c/a>\u003c/span> and San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Tongo Eisen-Martin\u003c/a>.\u003c/p>\n\u003cp>Foster says the entire film was originally set to be an in-person event anchored by the Oakland-based national think tank and research nonprofit, \u003ca href=\"https://www.policylink.org/\" target=\"_blank\" rel=\"noopener noreferrer\">PolicyLink\u003c/a> (full transparency: they’re a former employer of mine). But due to COVID-19, the team switched gears about a year ago to make this production into a film.\u003c/p>\n\u003cfigure id=\"attachment_13896277\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-800x445.png\" alt=\"Dancer Jeremy Guyton gets set to perform, as filmmaker Jason R.A. Foster and crew look on. \" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-768x428.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Jeremy Guyton gets set to perform, as filmmaker Jason R.A. Foster and crew look on. \u003ccite>(Sienna Pinderhughes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The entire documentary is hosted by Michael “Quess?” Moore, who goes by \u003ca href=\"https://www.ascribecalledquess.com/about\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">A Scribe Called Quess?\u003c/a>; he also performs in the film.\u003c/p>\n\u003cp>Quess?, a poet who considers himself more of an organizer than a policy wonk, says he was interested to see the intersection of poetry and politics. “I\u003cspan style=\"font-weight: 400\">’m always on that side of things where we till the soil and nourish the roots of what might manifest as policy change,” says Quess? But to see the intersection of organizing and poetry in real time, Quess? says, “\u003c/span>\u003cspan style=\"font-weight: 400\">It was like a fantasy. We got to make sure the two were in direct conversation the whole time.”\u003c/span>\u003c/p>\n\u003cp>The depiction of that dialog couldn’t have come at a better time, as people across the nation are talking poetry and politics right now. This film is sure to add fuel to the fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The screening is part of a larger event, which includes moderated panels and a Twitch dance party. It all starts at 2pm on Saturday, April 24, you can find \u003ca href=\"https://www.eventbrite.com/e/many-fires-this-time-we-the-100-million-film-premiere-tickets-149610036647\" target=\"_blank\" rel=\"noopener noreferrer\">more information here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This National Poetry Month has shown we need to keep policy change at the forefront of our thinking. As a bit of a perfect union of art and politics, this Saturday at 2pm there will be a virtual free debut screening of the new film\u003cem> \u003ca style=\"color: #41a62a\" href=\"https://www.eventbrite.com/e/many-fires-this-time-we-the-100-million-film-premiere-tickets-149610036647\" target=\"_blank\" rel=\"noopener noreferrer\">Many Fires This Time\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>The film, referred to as a “poetic docudrama,” fuses spoken word, dance and filmed community conversations to bring the viewer into the research on the \u003ca href=\"https://www.policylink.org/our-work/100-million-economically-insecure\" target=\"_blank\" rel=\"noopener noreferrer\">one hundred million Americans\u003c/a> living in economic insecurity.\u003c/p>\n\u003cfigure id=\"attachment_13896278\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896278\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-800x491.png\" alt=\"Poet Diana Cervera and filmmaker Jason R.A. Foster converse during the filming of Many Fires This Time.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-1020x626.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-1536x943.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-2048x1257.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.39.50-AM-1920x1178.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Poet Diana Cervera and filmmaker Jason R.A. Foster converse during the filming of Many Fires This Time. \u003ccite>(Sienna Pinderhughes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s not an exhaustive foray into the issues that impact people living below the poverty line,” says filmmaker Jason R.A. Foster. “It’s a part of the conversation.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Foster, a New Orleans-based filmmaker, says the 70-minute film, “\u003c/span>\u003cspan style=\"font-weight: 400\">could’ve been all data and stats… \u003c/span>But that’s not getting to the very core of what the stories are, and the humanity of these people.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Instead of charts and graphs, there’s graphic language about police brutality in Chicago, immigration in Tijuana, and the intersection of economic and environmental issues in Kentucky. While dealing with topics like \u003c/span>\u003cspan style=\"font-weight: 400\">homophobia, workers’ rights and imperialism, the film manages to feature organizations doing work on the ground, like Oakland’s \u003ca href=\"http://mujeresunidas.net/\" target=\"_blank\" rel=\"noopener noreferrer\">Mujeres Unidas y Activas (MUA)\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In-between excerpts taken from these heavy discussions are performances from \u003ca href=\"https://www.facebook.com/kendria.k.harris\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Kendria “K-Love” Harris\u003c/a>, \u003ca href=\"https://www.humansofcentralappalachia.org/stories/2016/1/23/misty-skaggs\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Misty Skaggs\u003c/a>, \u003ca href=\"http://dianacervera.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Diana Cervera\u003c/a>, \u003ca href=\"https://www.marvinkwhite.com/\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Marvin K. White,\u003c/a> \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.dancingrounds.org/jguyton\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Guyton\u003c/a>\u003c/span> and San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">Tongo Eisen-Martin\u003c/a>.\u003c/p>\n\u003cp>Foster says the entire film was originally set to be an in-person event anchored by the Oakland-based national think tank and research nonprofit, \u003ca href=\"https://www.policylink.org/\" target=\"_blank\" rel=\"noopener noreferrer\">PolicyLink\u003c/a> (full transparency: they’re a former employer of mine). But due to COVID-19, the team switched gears about a year ago to make this production into a film.\u003c/p>\n\u003cfigure id=\"attachment_13896277\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-800x445.png\" alt=\"Dancer Jeremy Guyton gets set to perform, as filmmaker Jason R.A. Foster and crew look on. \" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-768x428.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/Screen-Shot-2021-04-23-at-8.30.48-AM.png 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dancer Jeremy Guyton gets set to perform, as filmmaker Jason R.A. Foster and crew look on. \u003ccite>(Sienna Pinderhughes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The entire documentary is hosted by Michael “Quess?” Moore, who goes by \u003ca href=\"https://www.ascribecalledquess.com/about\" target=\"_blank\" rel=\"nofollow noopener noreferrer\">A Scribe Called Quess?\u003c/a>; he also performs in the film.\u003c/p>\n\u003cp>Quess?, a poet who considers himself more of an organizer than a policy wonk, says he was interested to see the intersection of poetry and politics. “I\u003cspan style=\"font-weight: 400\">’m always on that side of things where we till the soil and nourish the roots of what might manifest as policy change,” says Quess? But to see the intersection of organizing and poetry in real time, Quess? says, “\u003c/span>\u003cspan style=\"font-weight: 400\">It was like a fantasy. We got to make sure the two were in direct conversation the whole time.”\u003c/span>\u003c/p>\n\u003cp>The depiction of that dialog couldn’t have come at a better time, as people across the nation are talking poetry and politics right now. This film is sure to add fuel to the fire.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The screening is part of a larger event, which includes moderated panels and a Twitch dance party. It all starts at 2pm on Saturday, April 24, you can find \u003ca href=\"https://www.eventbrite.com/e/many-fires-this-time-we-the-100-million-film-premiere-tickets-149610036647\" target=\"_blank\" rel=\"noopener noreferrer\">more information here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Tongo Eisen-Martin on a Poet's Role in a Protest",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9241183697&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, San Francisco’s eighth poet laureate, says it’s not enough to simply be a poet.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The poet needs to just come on down to the trenches\u003c/span>,” he says. Eisen-Martin’s suggestion for writers out there is to get involved in the community, whether that’s passing out flyers or organizing a mutual aid program. “\u003cspan style=\"font-weight: 400\">That experience is what you synthesize good revolutionary poetry from.”\u003c/span>\u003c/p>\n\u003cp>As a lifelong San Franciscan, Eisen-Martin has developed a unique perspective on how racism manifests in a liberal bastion like the Bay Area. In this episode, he addresses American militarism, state-sanctioned violence, and mass incarceration– as well as what can be done about these issues.\u003c/p>\n\u003cp>Eisen-Martin joined me for a brief but powerful interview that includes a performance of his poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3 class=\"p1\">A Sketch about Genocide\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>A police chief says, “Yes, you poets make points. But they are all silly,” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Police chief sowing a mouth onto a mouth\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Police chief looking straight through the poet\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Flesh market both sides of the levy\u003cbr>\nChange of plans both sides of the nonviolence\u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\" style=\"text-align: left\">\u003cstrong>\u003cem> On no earth\u003cbr>\nJust an earth character \u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>\u003cem>His subordinate says, “Awkward basketball moves look good on you, sir… Yes, we are everywhere, sir… yes, unfortunately for now, white people only have Black History … we will slide the wallpaper right into their cereal bowls, sir … Surveil the shuffle.” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>I am a beggar and all of this day is too easy \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I want to see all of the phases of a wall \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Every age it goes through\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its humanity \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its environmental racism \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>We call this the ordeal blues \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Now crawl to the piano seat and make a blanket for your cell \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Paint scenes of a child dancing up to the court appearance\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>And leaving a man,\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem> but not for home\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Atlantic ocean charts mixed in with parole papers \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Mainstream funding (the ruling class’s only pacifism) \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ruling class printing judges (fiat kangaroos) \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Making judges hand over fist \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Rapture cop packs and opposition whites all above a thorny stem \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Caste plans picked out like vans for the murder show anglo‐saints addicting you to a power structure \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>you want me to raise a little slave, don’t you? \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>bash his little brain in \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and send him to your civil rights \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>No pain \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Just a white pain \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Delicate bullets in a box next to a stack of monolith scriptures \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> (makes these bullets look relevant, don’t it?)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>I remember you\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Everywhere you lay your hat is the capital of the south \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The posture you introduced to that fence \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The fence you introduced to political theory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>If you shred my dreams, son \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I will tack you to gun smoke\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>The suburbs are finally offended\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>this will be a meditation too\u003c/em>\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with poet Tongo Eisen-Martin: \u003c/strong>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: I feel like the primary generator of reality in the United States is military reality. It’s the organizations of violence or the monopolies of violence especially, wielded by the state. And a state wielded by a ruling class. Prison is evidence of this principle. \u003c/span>\u003cspan style=\"font-weight: 400\">To be clear, you are living in a reality of organized violence. Along with the blood comes the culture of just, confined, compartmentalized living. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t see how any of us walk around having normal days when the kids are still in cages. When you think about the individual adventure you’re on. How lovingly can I pat myself on the back when there’s some severe injustice going on.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: What can you do about that injustice as a poet?\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: The poet needs to just come on down to the trenches, come on down to whatever political efforts are already going on. Do not be sad if nobody wants to hear a poem down there, ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: [laughs]\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: That’s primary. That experience is what you synthesize good revolutionary poetry from. \u003c/span>\u003c/p>\n\u003cp>\u003cem>This is the first in a series of shorter shows we’re doing this year, called “Pocket Poems Podcasts.” All of these Rightnowish episodes feature poets performing their work. Enjoy!\u003c/em>\u003c/p>\n\u003cp>Catch up on our music series with this Spotify playlist:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "San Francisco's Poet Laureate, Tongo Eisen-Martin, has a call to action for poets out there: \r\nGet Active! ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9241183697&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tongo Eisen-Martin\u003c/a>, San Francisco’s eighth poet laureate, says it’s not enough to simply be a poet.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">The poet needs to just come on down to the trenches\u003c/span>,” he says. Eisen-Martin’s suggestion for writers out there is to get involved in the community, whether that’s passing out flyers or organizing a mutual aid program. “\u003cspan style=\"font-weight: 400\">That experience is what you synthesize good revolutionary poetry from.”\u003c/span>\u003c/p>\n\u003cp>As a lifelong San Franciscan, Eisen-Martin has developed a unique perspective on how racism manifests in a liberal bastion like the Bay Area. In this episode, he addresses American militarism, state-sanctioned violence, and mass incarceration– as well as what can be done about these issues.\u003c/p>\n\u003cp>Eisen-Martin joined me for a brief but powerful interview that includes a performance of his poem, “A Sketch of Genocide.” The piece was included in his book, \u003cspan id=\"productTitle\" class=\"a-size-extra-large\">\u003cem>Heaven Is All Goodbyes\u003c/em>, which won a 2018 American Book Award. \u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3 class=\"p1\">A Sketch about Genocide\u003c/h3>\n\u003cp>\u003cstrong>\u003cem>A police chief says, “Yes, you poets make points. But they are all silly,” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Police chief sowing a mouth onto a mouth\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Police chief looking straight through the poet\u003cbr>\n\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Flesh market both sides of the levy\u003cbr>\nChange of plans both sides of the nonviolence\u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\" style=\"text-align: left\">\u003cstrong>\u003cem> On no earth\u003cbr>\nJust an earth character \u003c/em>\u003c/strong>\u003c/p>\n\u003cp class=\"p1\">\u003cstrong>\u003cem>His subordinate says, “Awkward basketball moves look good on you, sir… Yes, we are everywhere, sir… yes, unfortunately for now, white people only have Black History … we will slide the wallpaper right into their cereal bowls, sir … Surveil the shuffle.” \u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: left\">\u003cstrong>\u003cem>I am a beggar and all of this day is too easy \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I want to see all of the phases of a wall \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Every age it goes through\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its humanity \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> Its environmental racism \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>We call this the ordeal blues \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Now crawl to the piano seat and make a blanket for your cell \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Paint scenes of a child dancing up to the court appearance\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>And leaving a man,\u003cbr>\n\u003c/em>\u003c/strong>\u003cstrong>\u003cem> but not for home\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Atlantic ocean charts mixed in with parole papers \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Mainstream funding (the ruling class’s only pacifism) \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Ruling class printing judges (fiat kangaroos) \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Making judges hand over fist \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Rapture cop packs and opposition whites all above a thorny stem \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Caste plans picked out like vans for the murder show anglo‐saints addicting you to a power structure \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>you want me to raise a little slave, don’t you? \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>bash his little brain in \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>and send him to your civil rights \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>No pain \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Just a white pain \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Delicate bullets in a box next to a stack of monolith scriptures \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem> (makes these bullets look relevant, don’t it?)\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>I remember you\u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>Everywhere you lay your hat is the capital of the south \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The posture you introduced to that fence \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>The fence you introduced to political theory\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>If you shred my dreams, son \u003c/em>\u003c/strong>\u003cbr>\n\u003cstrong>\u003cem>I will tack you to gun smoke\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>The suburbs are finally offended\u003c/em>\u003c/strong>\u003c/p>\n\u003cp style=\"text-align: right\">\u003cstrong>\u003cem>this will be a meditation too\u003c/em>\u003c/strong>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with poet Tongo Eisen-Martin: \u003c/strong>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: I feel like the primary generator of reality in the United States is military reality. It’s the organizations of violence or the monopolies of violence especially, wielded by the state. And a state wielded by a ruling class. Prison is evidence of this principle. \u003c/span>\u003cspan style=\"font-weight: 400\">To be clear, you are living in a reality of organized violence. Along with the blood comes the culture of just, confined, compartmentalized living. \u003c/span>\u003cspan style=\"font-weight: 400\">I don’t see how any of us walk around having normal days when the kids are still in cages. When you think about the individual adventure you’re on. How lovingly can I pat myself on the back when there’s some severe injustice going on.\u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: What can you do about that injustice as a poet?\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: The poet needs to just come on down to the trenches, come on down to whatever political efforts are already going on. Do not be sad if nobody wants to hear a poem down there, ya know. \u003c/span>\u003c/p>\n\u003cp>\u003cem>PEN\u003c/em>\u003cspan style=\"font-weight: 400\">: [laughs]\u003c/span>\u003c/p>\n\u003cp>TONGO\u003cspan style=\"font-weight: 400\">: That’s primary. That experience is what you synthesize good revolutionary poetry from. \u003c/span>\u003c/p>\n\u003cp>\u003cem>This is the first in a series of shorter shows we’re doing this year, called “Pocket Poems Podcasts.” All of these Rightnowish episodes feature poets performing their work. Enjoy!\u003c/em>\u003c/p>\n\u003cp>Catch up on our music series with this Spotify playlist:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6ok3fmGwvwmuyGvuWxlv3Q\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Q&A: San Francisco Poet Laureate Tongo Eisen-Martin on the City’s Pivotal Moment",
"headTitle": "Q&A: San Francisco Poet Laureate Tongo Eisen-Martin on the City’s Pivotal Moment | KQED",
"content": "\u003cp>When Mayor London Breed announced San Francisco poet \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" rel=\"noopener noreferrer\" target=\"_blank\">Tongo Eisen-Martin as the city’s eighth poet laureate\u003c/a> earlier this month, she praised his work uplifting the voices of black men and youth. “He will continue the work that our ancestors did as they fought for their own voices to be heard,” she said.\u003c/p>\n\u003cp>Some of that work appeared in Eisen-Martin’s two previous poetry collections, \u003cem>Someone’s Dead Already\u003c/em> and the multiple-award-wining \u003cem>Heaven is All Goodbyes Now\u003c/em>. Now, as he finds himself in an official city role, Eisen-Martin spoke with KQED to outline his vision for San Francisco, emphasize the importance of poetry in underserved communities, and explain why we need to revisit the urgency of last summer.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Kate Wolffe: Hi Tongo, congratulations. You’ve said San Francisco, the Bay Area, is a dystopia. To me, a poet laureate feels like someone who engages with the city and inspires hope. How do you balance those two things? \u003c/strong>\u003c/p>\n\u003cp>Tongo Eisen-Martin: I think below inspiration and hope and a lot of various energies, there has to be awareness — social awareness, political awareness — and that’s where my efforts are skewed to.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>How we react to it is how we react to it. But I think now is the time to, you know, really approach social life with a praxis, with an understanding of, “OK, well, how does oppression actually work? Who is actually benefiting? How do we resist this?”\u003c/p>\n\u003cp>If there’s any little boost in my craft, it really just comes from a perpetual inquiry. \u003c/p>\n\u003cp>\u003cstrong>In your inaugural address as Poet Laureate, you said “unity is the only thing” and “individualism at its core is about selective humanization.” Can you say more about that?\u003c/strong>[aside postID='arts_13806398']\u003c/p>\n\u003cp>Just to take our conversation, for example, I’m speaking as Poet Laureate: “Let us speak about these issues pertaining to poetry and application of some kind of public embrace of poetry.” Even my identity. I have this identity as a poet, or this or that, and not just a person that is actually talking to you live from unceded territory. If you think about it, there’s so much genocide, and so much slavery, there’s so much exploitation, that we psychically turn a blind eye just to go on about our daily business. \u003c/p>\n\u003cp>That’s the individualism that’s dangerous, because that ignoring — I mean, “ignoring” doesn’t even cover it — that delusion actually adds to the consent that makes all this oppression and repression possible. \u003c/p>\n\u003cp>I mean, even think about the kids in the cages. Are they still in the cages? The three-year-olds and the five-year-olds of the asylum seekers, are they still in the cages? \u003c/p>\n\u003cp>This has been in our face for three years now, at least. Right? We talk about a billion things other than the fact there are, within driving distance, there are kids in cages. This is that kind of individualism that oppression — that oppressors — thrive on. And that’s what we have to turn our attention to, or at least take our efforts, whatever our individual assertion is, whatever our talents, our interests, whatever our skills, and synthesize it with some kind of acknowledgment of the total social picture. \u003c/p>\n\u003cp>This is what I’m at the gate yelling. \u003c/p>\n\u003cp>\u003cstrong>Maybe people feel like they have to turn a blind eye in order to function in society.\u003c/strong>\u003c/p>\n\u003cp>Right, definitely. In order to fit your psyche in the structure, it requires you to take some of your mind and leave it at home. And this is how we’re socialized. This is what’s rewarded, right? \u003c/p>\n\u003cp>To not acknowledge the humanity of some is rewarded. And really it’s been rewarded since the settler colonial project began. And when you look at what’s not rewarded, nine times out of ten, it’s people who decide that what’s going to be the center of their day is the humanity of all. \u003c/p>\n\u003cp>Some might call them revolutionaries, but that’s really all it is, right? Someone who’s just entering everybody’s humanity. Because if I center everybody’s humanity, well, now my day looks different. I’m going to have to do something different with it. \u003c/p>\n\u003cp>\u003cstrong>Would you call yourself a revolutionary?\u003c/strong>[aside postID='arts_13810393']\u003c/p>\n\u003cp>I would, but a failing revolutionary. I wouldn’t pat myself on the back yet, until we had movements that are better organized, or organized more around a clear ideology and not just tactic, tactic, tactic. \u003c/p>\n\u003cp>What’s interesting about resistance is where it exists in the daily self-talk. Now for somebody who wants to stand on the identity of “revolutionary,” daily this is what you think about: “Where am I in relationship to revolutionary change?” \u003c/p>\n\u003cp>For those who don’t, that’s just not what we’re talking to ourselves about. We’re talking about all kinds of other stuff. No judgment, it’s just reality, that’s not what’s going through your mind. \u003c/p>\n\u003cp>Now in the summer, what the opportunity was, everybody was defining themselves according to this moment. That’s a huge amount of energy that movement doesn’t ordinarily have access to. \u003c/p>\n\u003cp>But it’s gone now, right? And it’s gone because there was no solid enough political organization to take that energy and clarify it for people and then give people something to do. \u003c/p>\n\u003cp>We see this dance and things are only going to get more and more frenetic because capitalism is in crisis, because climate catastrophe is only going to get more and more dramatic. \u003c/p>\n\u003cp>Revolutionary energy is not just a spontaneous reaction to dramatic conditions. We see how this kind of modern psyche will just adjust itself, will adjust its individualism, to whatever. We’re addicted to it. So it’s time to Black Panther up again. That’s really where transformation comes from. \u003c/p>\n\u003cp>\u003cstrong>Right. So what is your vision for yourself in this role?\u003c/strong> \u003c/p>\n\u003cp>There are so many beautiful artists, educators, curators, organizations [in San Francisco]. The art landscape of San Francisco is not missing anything — except maybe missing the people, because so many are gone. [laughing] You know, we might have to do some San Francisco extension workshops in Antioch or something like that. \u003c/p>\n\u003cp>What I want to add to the landscape or just support: I want workshops. Poetry programs that do center social analysis. Yes, we want to build insight into what language can do. But at the same time, the vehicle is insight into the content that language is exploring. I’ll work with anybody, anywhere, any any age. I love youth programming, but I think the whole village should get the opportunity to develop themselves in craft too. \u003c/p>\n\u003cp>\u003cstrong>Along those lines, how do you see poetry becoming more integrated into the community? \u003c/strong>\u003c/p>\n\u003cp>I love the prospects of the neighborhood libraries becoming centers of this almost political education. Really, I guess moving the poetry scene back into the proletariat a little bit. \u003c/p>\n\u003cp>This kind of “high art” really is a mass effort. It’s definitely a product of a mass effort. I did not get these poems, they did not cost me tens of thousands of dollars. You know, my poetry was developed in the trenches of mass culture. And so I want to bring it home. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tongo Eisen-Martin is San Francisco’s eighth Poet Laureate and the author of the poetry collections ‘Someone’s Dead Already’ and ‘Heaven is All Goodbyes.’ He has a third poetry collection set to be published in the fall of this year.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Mayor London Breed announced San Francisco poet \u003ca href=\"https://www.kqed.org/arts/13891380/tongo-eisen-martin-selected-as-san-franciscos-poet-laureate\" rel=\"noopener noreferrer\" target=\"_blank\">Tongo Eisen-Martin as the city’s eighth poet laureate\u003c/a> earlier this month, she praised his work uplifting the voices of black men and youth. “He will continue the work that our ancestors did as they fought for their own voices to be heard,” she said.\u003c/p>\n\u003cp>Some of that work appeared in Eisen-Martin’s two previous poetry collections, \u003cem>Someone’s Dead Already\u003c/em> and the multiple-award-wining \u003cem>Heaven is All Goodbyes Now\u003c/em>. Now, as he finds himself in an official city role, Eisen-Martin spoke with KQED to outline his vision for San Francisco, emphasize the importance of poetry in underserved communities, and explain why we need to revisit the urgency of last summer.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Kate Wolffe: Hi Tongo, congratulations. You’ve said San Francisco, the Bay Area, is a dystopia. To me, a poet laureate feels like someone who engages with the city and inspires hope. How do you balance those two things? \u003c/strong>\u003c/p>\n\u003cp>Tongo Eisen-Martin: I think below inspiration and hope and a lot of various energies, there has to be awareness — social awareness, political awareness — and that’s where my efforts are skewed to.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>How we react to it is how we react to it. But I think now is the time to, you know, really approach social life with a praxis, with an understanding of, “OK, well, how does oppression actually work? Who is actually benefiting? How do we resist this?”\u003c/p>\n\u003cp>If there’s any little boost in my craft, it really just comes from a perpetual inquiry. \u003c/p>\n\u003cp>\u003cstrong>In your inaugural address as Poet Laureate, you said “unity is the only thing” and “individualism at its core is about selective humanization.” Can you say more about that?\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just to take our conversation, for example, I’m speaking as Poet Laureate: “Let us speak about these issues pertaining to poetry and application of some kind of public embrace of poetry.” Even my identity. I have this identity as a poet, or this or that, and not just a person that is actually talking to you live from unceded territory. If you think about it, there’s so much genocide, and so much slavery, there’s so much exploitation, that we psychically turn a blind eye just to go on about our daily business. \u003c/p>\n\u003cp>That’s the individualism that’s dangerous, because that ignoring — I mean, “ignoring” doesn’t even cover it — that delusion actually adds to the consent that makes all this oppression and repression possible. \u003c/p>\n\u003cp>I mean, even think about the kids in the cages. Are they still in the cages? The three-year-olds and the five-year-olds of the asylum seekers, are they still in the cages? \u003c/p>\n\u003cp>This has been in our face for three years now, at least. Right? We talk about a billion things other than the fact there are, within driving distance, there are kids in cages. This is that kind of individualism that oppression — that oppressors — thrive on. And that’s what we have to turn our attention to, or at least take our efforts, whatever our individual assertion is, whatever our talents, our interests, whatever our skills, and synthesize it with some kind of acknowledgment of the total social picture. \u003c/p>\n\u003cp>This is what I’m at the gate yelling. \u003c/p>\n\u003cp>\u003cstrong>Maybe people feel like they have to turn a blind eye in order to function in society.\u003c/strong>\u003c/p>\n\u003cp>Right, definitely. In order to fit your psyche in the structure, it requires you to take some of your mind and leave it at home. And this is how we’re socialized. This is what’s rewarded, right? \u003c/p>\n\u003cp>To not acknowledge the humanity of some is rewarded. And really it’s been rewarded since the settler colonial project began. And when you look at what’s not rewarded, nine times out of ten, it’s people who decide that what’s going to be the center of their day is the humanity of all. \u003c/p>\n\u003cp>Some might call them revolutionaries, but that’s really all it is, right? Someone who’s just entering everybody’s humanity. Because if I center everybody’s humanity, well, now my day looks different. I’m going to have to do something different with it. \u003c/p>\n\u003cp>\u003cstrong>Would you call yourself a revolutionary?\u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I would, but a failing revolutionary. I wouldn’t pat myself on the back yet, until we had movements that are better organized, or organized more around a clear ideology and not just tactic, tactic, tactic. \u003c/p>\n\u003cp>What’s interesting about resistance is where it exists in the daily self-talk. Now for somebody who wants to stand on the identity of “revolutionary,” daily this is what you think about: “Where am I in relationship to revolutionary change?” \u003c/p>\n\u003cp>For those who don’t, that’s just not what we’re talking to ourselves about. We’re talking about all kinds of other stuff. No judgment, it’s just reality, that’s not what’s going through your mind. \u003c/p>\n\u003cp>Now in the summer, what the opportunity was, everybody was defining themselves according to this moment. That’s a huge amount of energy that movement doesn’t ordinarily have access to. \u003c/p>\n\u003cp>But it’s gone now, right? And it’s gone because there was no solid enough political organization to take that energy and clarify it for people and then give people something to do. \u003c/p>\n\u003cp>We see this dance and things are only going to get more and more frenetic because capitalism is in crisis, because climate catastrophe is only going to get more and more dramatic. \u003c/p>\n\u003cp>Revolutionary energy is not just a spontaneous reaction to dramatic conditions. We see how this kind of modern psyche will just adjust itself, will adjust its individualism, to whatever. We’re addicted to it. So it’s time to Black Panther up again. That’s really where transformation comes from. \u003c/p>\n\u003cp>\u003cstrong>Right. So what is your vision for yourself in this role?\u003c/strong> \u003c/p>\n\u003cp>There are so many beautiful artists, educators, curators, organizations [in San Francisco]. The art landscape of San Francisco is not missing anything — except maybe missing the people, because so many are gone. [laughing] You know, we might have to do some San Francisco extension workshops in Antioch or something like that. \u003c/p>\n\u003cp>What I want to add to the landscape or just support: I want workshops. Poetry programs that do center social analysis. Yes, we want to build insight into what language can do. But at the same time, the vehicle is insight into the content that language is exploring. I’ll work with anybody, anywhere, any any age. I love youth programming, but I think the whole village should get the opportunity to develop themselves in craft too. \u003c/p>\n\u003cp>\u003cstrong>Along those lines, how do you see poetry becoming more integrated into the community? \u003c/strong>\u003c/p>\n\u003cp>I love the prospects of the neighborhood libraries becoming centers of this almost political education. Really, I guess moving the poetry scene back into the proletariat a little bit. \u003c/p>\n\u003cp>This kind of “high art” really is a mass effort. It’s definitely a product of a mass effort. I did not get these poems, they did not cost me tens of thousands of dollars. You know, my poetry was developed in the trenches of mass culture. And so I want to bring it home. \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Tongo Eisen-Martin has been chosen as the eighth San Francisco Poet Laureate, Mayor London Breed announced Friday. Nominated by a selection committee made up of nine city officials, prior Poets Laureate, and members of the Bay Area literary community, Eisen-Martin will succeed Kim Shuck in the position. \u003c/p>\n\u003cp>In her announcement on Friday morning, Mayor Breed highlighted not only Eisen-Martin’s literary talents but his long history of giving back to San Francisco’s young people. “I’ve had the pleasure of working with Tongo when he was a teaching artist at the African American Arts and Culture complex, and I’ve seen his remarkable ability to spur creativity in youth and inspire them to find their own voice,” said Mayor Breed. “His work on racial justice and equity, along with his commitment to promoting social and cultural change, comes at such a critical time for our city and our country.”\u003c/p>\n\u003cp>Born and raised in San Francisco, Eisen-Martin is the founder of Black Freighter Press. His 2017 book \u003cem>\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=reviews\" rel=\"noopener noreferrer\" target=\"_blank\">Heaven Is All Goodbyes\u003c/a>\u003c/em> (City Lights) received the 2018 California Book Award for poetry, a 2018 American Book Award, and was shortlisted for the Griffin Poetry Prize. (In \u003ca href=\"https://www.kqed.org/arts/13806398/poems-for-the-end-of-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">a review\u003c/a> of \u003cem>Heaven is All Goodbyes\u003c/em> in 2017, KQED hailed Eisen-Martin’s cadences as “polyphonic, gritty, and unexpectedly fragile, like jazz.”)[aside postID='arts_13806398']\u003c/p>\n\u003cp>“San Francisco has legends too fearless for me to count myself as one of them, but I am from this collection of thousands and thousands of participants in revolutionary history and culture,” Eisen-Martin said in his inaugural address. “What the people here taught me is that unity is the only thing, and that individualism as it is practiced, codified, and romanticized… at its core is about selective humanization.” \u003c/p>\n\u003cp>Tongo Eisen-Martin described himself and his work as “an absolute product of every nook and cranny of San Francisco,” adding that “as deep into the various communities of the city as our poets have already brought the craft, I want to push even further into places where poetry has not yet permeated.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eisen-Martin has certainly pushed the boundaries of that permeation throughout his career, utilizing art and poetry in his education and movement work. His curriculum on the extrajudicial killing of Black people, \u003cem>We Charge Genocide Again!\u003c/em> at the Institute for Research in African American Studies at Columbia University, has been taught across the nation, and he has taught at various detention centers throughout the United States.\u003c/p>\n\u003cp>In his time as Poet Laureate, Eisen-Martin intends to organize poetry reading circles in Sunnydale, Bayview-Hunters Point, and the Tenderloin, as well as seek out and foster San Francisco artists from marginalized communities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Eisen-Martin’s as-yet-titled second book in the City Lights Pocket Poet series will be released in the fall of 2021.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tongo Eisen-Martin has been chosen as the eighth San Francisco Poet Laureate, Mayor London Breed announced Friday. Nominated by a selection committee made up of nine city officials, prior Poets Laureate, and members of the Bay Area literary community, Eisen-Martin will succeed Kim Shuck in the position. \u003c/p>\n\u003cp>In her announcement on Friday morning, Mayor Breed highlighted not only Eisen-Martin’s literary talents but his long history of giving back to San Francisco’s young people. “I’ve had the pleasure of working with Tongo when he was a teaching artist at the African American Arts and Culture complex, and I’ve seen his remarkable ability to spur creativity in youth and inspire them to find their own voice,” said Mayor Breed. “His work on racial justice and equity, along with his commitment to promoting social and cultural change, comes at such a critical time for our city and our country.”\u003c/p>\n\u003cp>Born and raised in San Francisco, Eisen-Martin is the founder of Black Freighter Press. His 2017 book \u003cem>\u003ca href=\"http://www.citylights.com/book/?GCOI=87286100115800&fa=reviews\" rel=\"noopener noreferrer\" target=\"_blank\">Heaven Is All Goodbyes\u003c/a>\u003c/em> (City Lights) received the 2018 California Book Award for poetry, a 2018 American Book Award, and was shortlisted for the Griffin Poetry Prize. (In \u003ca href=\"https://www.kqed.org/arts/13806398/poems-for-the-end-of-the-world\" rel=\"noopener noreferrer\" target=\"_blank\">a review\u003c/a> of \u003cem>Heaven is All Goodbyes\u003c/em> in 2017, KQED hailed Eisen-Martin’s cadences as “polyphonic, gritty, and unexpectedly fragile, like jazz.”)\u003c/p>\u003c/div>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/bbc-world-service",
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"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
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"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
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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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"officialWebsiteLink": "https://www.cityarts.net/",
"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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"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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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.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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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"source": "kqed",
"order": 9
},
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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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"
},
"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",
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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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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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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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/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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