Boots Riley, Tommy Orange and the Summer of the Oakland Artist
SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists
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She has received numerous local awards from the Associated Press and the Society of Professional Journalists.","avatar":"https://secure.gravatar.com/avatar/b8e02ae982913d0950df605910267c1b?s=600&d=blank&r=g","twitter":"RaquelMDillon","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"news","roles":["subscriber"]},{"site":"stateofhealth","roles":["editor"]},{"site":"science","roles":["editor"]},{"site":"forum","roles":["editor"]}],"headData":{"title":"Raquel Maria Dillon | KQED","description":null,"ogImgSrc":"https://secure.gravatar.com/avatar/b8e02ae982913d0950df605910267c1b?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/b8e02ae982913d0950df605910267c1b?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/rdillon"},"amontecillo":{"type":"authors","id":"11649","meta":{"index":"authors_1591205172","id":"11649","found":true},"name":"Alan Montecillo","firstName":"Alan","lastName":"Montecillo","slug":"amontecillo","email":"amontecillo@kqed.org","display_author_email":false,"staff_mastheads":["news"],"title":"KQED Contributor","bio":"Alan Montecillo is editor of \u003cem>\u003ca href=\"http://kqed.org/thebay\">The Bay\u003c/a>, \u003c/em>a local news and storytelling podcast from KQED. He's worked as a senior talk show producer for WILL in Champaign-Urbana, Illinois, and was the founding producer and editor of \u003cem>Racist Sandwich\u003c/em>, a podcast about food, race, class, and gender. He is a Filipino-American from Hong Kong and a graduate of Reed College in Portland, Oregon.","avatar":"https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g","twitter":"alanmontecillo","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"","roles":["editor"]},{"site":"news","roles":["editor"]}],"headData":{"title":"Alan Montecillo | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d5e4e7a76481969ccba76f4e2b5ccabc?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/amontecillo"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"news","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"news_11973656":{"type":"posts","id":"news_11973656","meta":{"index":"posts_1591205157","site":"news","id":"11973656","score":null,"sort":[1706270443000]},"guestAuthors":[],"slug":"bay-area-creatives-find-unexpected-welcome-in-small-town-delta","title":"Bay Area Creatives Find Unexpected Welcome in Small-Town Delta","publishDate":1706270443,"format":"standard","headTitle":"Bay Area Creatives Find Unexpected Welcome in Small-Town Delta | KQED","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>The small communities tucked into the San Joaquin River Delta are full of contradictions. Located northeast of the San Francisco Bay Area, much of the area is populated by farmers growing crops like wheat, alfalfa and rice. But, visitors might also stumble upon a circus performed on board a huge boat made to look like an island, a community of free spirits living out of tiny homes plopped down in an RV park, even a woman walking a goose on a leash down the street in town. Needless to say, it can be a quirky place.\u003c/p>\n\u003cp>Once primarily known for farming, Delta communities are changing as people priced out of the Bay Area discover this relatively close region that still offers land and freedom. It has become particularly attractive to artists and other creatives looking to live in a place where they’re free to create without the pressures of city regulators and rising rents.\u003c/p>\n\u003cfigure id=\"attachment_11963681\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963681\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED.jpg\" alt=\"A lighthouse and a number of boats are seen across a stretch of water.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Forbes Island is seen during the Secrets of the Sea Circus Festival in Brentwood, Contra Costa County, on Saturday, Sept. 30, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The big question was, ‘Do I stay in the Bay Area, which is getting unsustainably expensive?’” said Michelle Burke, who used to be involved in running American Steel, a sprawling West Oakland artist collective. “My friends are being displaced. They’re losing their workspaces, their art spaces, their homes. It was just unsustainable.”\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Michelle Burke, Isleton artist and resident\"]‘The big question was, ‘Do I stay in the Bay Area, which is getting unsustainably expensive? My friends are being displaced. They’re losing their workspaces, their art spaces, their homes. It was just unsustainable.’[/pullquote]In Isleton, where Burke relocated, she’s got enough room on her property for six shipping containers to store materials and DIY projects. She’s one of many who have found the Delta to be a refreshing change.\u003c/p>\n\u003cp>“I took a motorcycle ride out here, and I was just kind of blown away with the vibe,” said Iva Walton, another transplant from Oakland who now owns the \u003ca href=\"https://www.ediblesacramento.com/editorial/drinks-2019/mei-wah-beer-room/\">Mei Wah Beer Room in Isleton\u003c/a>. “When people ask where Isleton is, I say, ‘It’s 50 miles and 50 years away from Oakland.’ I like that it’s sort of a little bit stuck in time.”\u003c/p>\n\u003cp>Walton used to work as a stage designer and tile setter in Oakland and San Francisco before moving to Isleton and opening her bar. Now, she’s serving her second term on the city council.\u003c/p>\n\u003cp>“People were very welcoming and appreciative of me doing a cool business here in town,” Walton said. “They were hungry for it, supportive of it.”\u003c/p>\n\u003cfigure id=\"attachment_11973668\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut.jpg\" alt=\"Sillouette's of a handful of people in the dusk with glowing orange clouds behind them.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees gather to watch the Secrets of the Sea Circus Festival on Forbes Island. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She likes that in Isleton, she’s friends with people who have different life experiences and opinions from her.\u003c/p>\n\u003cp>“Moving out here popped my Bay Area bubble,” she explained. “I used to think that Christians and conservatives wanted to kill me for being a big old, queer whatever. Completely not true.”\u003c/p>\n\u003cp>Instead, she’s found that people in the Delta are like her; they want to live and let live.\u003c/p>\n\u003cp>“Some of the people I’m closest to, some of my customers, are Christians and conservatives. There’s been nothing but good treatment.”\u003c/p>\n\u003cfigure id=\"attachment_11963683\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963683\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED.jpg\" alt=\"Two people hang on ropes from a light tower as people look on.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members watch Roel Seeber (left) and Megan Lowe (right) dance off of the side of a lighthouse during the Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>More space and opportunity\u003c/h2>\n\u003cp>Heidi Petty, a watershed manager for the Contra Costa Resource Conservation District, moved from Benicia to Oakley in 2015. Petty was able to use the proceeds from the sale of her home to buy a property with two tiny houses on it, an ownership stake in a marina and a 21-acre cattle ranch on Bradford Island.\u003c/p>\n\u003cp>“I think the Delta changed who I [am],” Petty said. It made me realize the things I could do. If you’re willing to try things, the Delta will let you try them. That’s why I like the Delta.”\u003c/p>\n\u003cfigure id=\"attachment_11963682\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963682\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED.jpg\" alt=\"A person in an ornate hat smiles and looks at the camera.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Petty poses for a portrait at the Secrets of the Sea Circus Festival on Forbes Island in Brentwood, Contra Costa County, on Saturday, Sept. 30, 2023. Petty’s cattle ranch is off the shore of where the festival takes place, giving attendees a place to camp. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to her work for the county, Petty is now part of several creative endeavors, like \u003ca href=\"https://www.eventbrite.com/e/secrets-of-the-sea-circus-festival-aboard-forbes-island-tickets-530909202717?utm_experiment=test_share_listing&aff=ebdsshios\">\u003cem>Secrets of the Sea\u003c/em>\u003c/a>, an “immersive water circus” performed on a 5,000-square-foot barge docked near Petty’s ranch. The show was \u003ca href=\"http://www.NikkiBorodi.com\">cofounded by Nikki Borodi\u003c/a>, an artist who plans to produce future shows. Petty and the other owners of the marina have been transforming the barge, known as \u003ca href=\"https://www.atlasobscura.com/places/forbes-island\">Forbes Island\u003c/a>, into a performance venue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfgate.com/travel/article/forbes-island-sf-floating-island-returns-18180173.php\">Once a novelty restaurant docked in the San Francisco Bay\u003c/a>, the owners towed the barge up to the Delta. It has palm trees, a 40-foot lighthouse and a full restaurant below deck. \u003cem>Secrets of the Sea \u003c/em>was its inaugural event\u003cem>, \u003c/em>where dancers suspended from the lighthouse by cables twisted and turned, a fire-eater performed on a raft in the river and a burlesque performer strutted her stuff below deck. Petty and her partners expect to stage more shows on the river when they move the barge to their marina on Bethel Island.\u003c/p>\n\u003cfigure id=\"attachment_11973676\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut.jpg\" alt=\"Three people seated applying makeup surrounded by two small buildings.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Performers Shannon Gray (left), Sam Malloy (center) and Myles Hochman (right) apply makeup before taking the stage at Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An artist herself, Petty is glad that more creatives are moving to the area. She’s noticed that when her artist friends go to a local bar, they do get noticed by longtime Delta residents because “they dress funny; they’re artists.”\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Heidi Petty, watershed manager for Contra Costa Resource Conservation District.\"]‘But more than anything, the locals are happy to see people clean things up. They just appreciate people who make things better. Anybody who’s willing to work is pretty welcome in the Delta.’[/pullquote]“But more than anything, the locals are happy to see people clean things up,” Petty said. “They just appreciate people who make things better. Anybody who’s willing to work is pretty welcome in the Delta.”\u003c/p>\n\u003cp>One way to irritate folks here, though, is to refer to the Delta as the Bay Area.\u003c/p>\n\u003cp>“We don’t live in the Bay Area; we live in the Delta!” said John Bento, a local architect who grew up in Rio Vista.\u003c/p>\n\u003cp>Bento and other locals gathered at a farmers market in Rio Vista for a meeting organized by the California Delta Chambers & Visitors Bureau.\u003c/p>\n\u003cp>“The Delta is still funky,” said Bill Wells, the group’s executive director. “I think everybody has kind of the attitude of ‘mind your own business’ up here.”\u003c/p>\n\u003cfigure id=\"attachment_11973674\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut.jpg\" alt=\"A bar with people at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees gather and listen to music after performances conclude at the Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the newcomers are visible because of their aesthetic and creative projects, it’s not like people are flooding into these rural communities, he said. In fact, according to Wells, the population numbers have largely stayed the same for a hundred years. Still, some locals distrust the new people.\u003c/p>\n\u003cp>“The farmers that I talk to are more concerned about that than anybody else,” Wells said. “I think everybody else enjoys some controlled growth. The farmers are concerned because they have farm equipment, and they claim people are coming and stealing crap out of their farmyards.”\u003c/p>\n\u003cfigure id=\"attachment_11963686\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED.jpg\" alt=\"A person kneels and breathes fire at the end of a short jetty.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ellie (who declined to give last name) breathes fire alongside his partner Ro (who declined to give last name) on a rotating dock during the Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not clear who’s to blame if that’s true, Wells said, but it’s easy to be suspicious of the new people.\u003c/p>\n\u003ch2>Who’s ‘a good fit for the Delta’?\u003c/h2>\n\u003cp>“The people who are in the Delta are just amazing, wonderful people,” said Tim Anderson, \u003ca href=\"https://www.npr.org/2009/08/16/111851629/do-it-yourself-guru-makes-treasures-from-trash\">a well-known figure in the maker community\u003c/a>, who splits his time between Berkeley and a pig farm on Brannan Island along the San Joaquin River. Anderson’s crafty DIY sensibility is on display all over this farm, where he uses a battered sedan as a tractor and old apple crates to fence in his 100 pigs.\u003c/p>\n\u003cfigure id=\"attachment_11973679\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973679\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut.jpg\" alt=\"An acrobatic artist hanging by the arm during a performance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trapeze artist Shannon Gray is lifted out of the water during the Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He acknowledges that the Delta was thriving “without us newcomers.”\u003c/p>\n\u003cp>“There’s something about the obvious flood risk that repels uptight, control freak kind of people,” he said. “The people in the Delta are there to have a good time and not stop people from having hobbies.”\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Tim Anderson, resident and pig farmer\"]‘My goal is to have all the high-functioning misfits move out to the Delta because that’s who’s a good fit for the Delta culture.’[/pullquote]Anderson said many of his friends prefer to live in mobile tiny homes. In Oakland, they often ran up against permitting and regulation issues for tiny houses, but out in the Delta, there’s more space and fewer rules. There are 15 tiny houses at a marina down the road from Anderson’s pig farm and more are planned at another marina in Isleton for next year.\u003c/p>\n\u003cp>“My goal is to have all the high-functioning misfits move out to the Delta because that’s who’s a good fit for the Delta culture,” he said while unloading bales of hay from the roof and hood of his car. “We’re plugging into an existing society that is just miraculously compatible.”\u003c/p>\n\u003cfigure id=\"attachment_11973665\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-scaled.jpg\" alt=\"A man with a hat sitting on the trunk of a car surrounded by pigs.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tim Anderson, a well-known figure in the maker community, with his pigs on his pig farm on Brannan Island in November 2023. \u003ccite>(John Kalish for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early November, a bunch of Anderson’s friends got together in Isleton to carve giant pumpkins grown at a community farm on his property. The largest of the pumpkins was 350 pounds. The carvers fed the pumpkin flesh to his pigs and saved the seeds for eating later. Then, the friends hopped into their hollowed-out pumpkin crafts and paddled around in the San Joaquin River. It might seem wacky, but this type of exuberant, interactive art is an increasingly common sight around here.\u003c/p>\n\u003cp>\u003cem>Editor’s note: This story was updated to include Nikki Borodi’s role in the Secrets of the Sea Circus Festival and the correct employer of Heidi Petty. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Artists are moving to San Joaquin Delta towns like Isleton to get away from high rents and regulation. They’re finding a surprisingly welcome culture.","status":"publish","parent":0,"modified":1706592645,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1888},"headData":{"title":"Bay Area Creatives Find Unexpected Welcome in Small-Town Delta | KQED","description":"Artists are moving to San Joaquin Delta towns like Isleton to get away from high rents and regulation. They’re finding a surprisingly welcome culture.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Bay Area Creatives Find Unexpected Welcome in Small-Town Delta","datePublished":"2024-01-26T12:00:43.000Z","dateModified":"2024-01-30T05:30:45.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/89366c5d-149a-47f9-9eb3-b10101815b21/audio.mp3","sticky":false,"nprByline":"Jon Kalish","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11973656/bay-area-creatives-find-unexpected-welcome-in-small-town-delta","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The small communities tucked into the San Joaquin River Delta are full of contradictions. Located northeast of the San Francisco Bay Area, much of the area is populated by farmers growing crops like wheat, alfalfa and rice. But, visitors might also stumble upon a circus performed on board a huge boat made to look like an island, a community of free spirits living out of tiny homes plopped down in an RV park, even a woman walking a goose on a leash down the street in town. Needless to say, it can be a quirky place.\u003c/p>\n\u003cp>Once primarily known for farming, Delta communities are changing as people priced out of the Bay Area discover this relatively close region that still offers land and freedom. It has become particularly attractive to artists and other creatives looking to live in a place where they’re free to create without the pressures of city regulators and rising rents.\u003c/p>\n\u003cfigure id=\"attachment_11963681\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963681\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED.jpg\" alt=\"A lighthouse and a number of boats are seen across a stretch of water.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-001-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Forbes Island is seen during the Secrets of the Sea Circus Festival in Brentwood, Contra Costa County, on Saturday, Sept. 30, 2023. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The big question was, ‘Do I stay in the Bay Area, which is getting unsustainably expensive?’” said Michelle Burke, who used to be involved in running American Steel, a sprawling West Oakland artist collective. “My friends are being displaced. They’re losing their workspaces, their art spaces, their homes. It was just unsustainable.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘The big question was, ‘Do I stay in the Bay Area, which is getting unsustainably expensive? My friends are being displaced. They’re losing their workspaces, their art spaces, their homes. It was just unsustainable.’","name":"pullquote","attributes":{"named":{"align":"right","size":"medium","citation":"Michelle Burke, Isleton artist and resident","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In Isleton, where Burke relocated, she’s got enough room on her property for six shipping containers to store materials and DIY projects. She’s one of many who have found the Delta to be a refreshing change.\u003c/p>\n\u003cp>“I took a motorcycle ride out here, and I was just kind of blown away with the vibe,” said Iva Walton, another transplant from Oakland who now owns the \u003ca href=\"https://www.ediblesacramento.com/editorial/drinks-2019/mei-wah-beer-room/\">Mei Wah Beer Room in Isleton\u003c/a>. “When people ask where Isleton is, I say, ‘It’s 50 miles and 50 years away from Oakland.’ I like that it’s sort of a little bit stuck in time.”\u003c/p>\n\u003cp>Walton used to work as a stage designer and tile setter in Oakland and San Francisco before moving to Isleton and opening her bar. Now, she’s serving her second term on the city council.\u003c/p>\n\u003cp>“People were very welcoming and appreciative of me doing a cool business here in town,” Walton said. “They were hungry for it, supportive of it.”\u003c/p>\n\u003cfigure id=\"attachment_11973668\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973668\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut.jpg\" alt=\"Sillouette's of a handful of people in the dusk with glowing orange clouds behind them.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-039-JY_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees gather to watch the Secrets of the Sea Circus Festival on Forbes Island. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She likes that in Isleton, she’s friends with people who have different life experiences and opinions from her.\u003c/p>\n\u003cp>“Moving out here popped my Bay Area bubble,” she explained. “I used to think that Christians and conservatives wanted to kill me for being a big old, queer whatever. Completely not true.”\u003c/p>\n\u003cp>Instead, she’s found that people in the Delta are like her; they want to live and let live.\u003c/p>\n\u003cp>“Some of the people I’m closest to, some of my customers, are Christians and conservatives. There’s been nothing but good treatment.”\u003c/p>\n\u003cfigure id=\"attachment_11963683\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963683\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED.jpg\" alt=\"Two people hang on ropes from a light tower as people look on.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-017-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Audience members watch Roel Seeber (left) and Megan Lowe (right) dance off of the side of a lighthouse during the Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>More space and opportunity\u003c/h2>\n\u003cp>Heidi Petty, a watershed manager for the Contra Costa Resource Conservation District, moved from Benicia to Oakley in 2015. Petty was able to use the proceeds from the sale of her home to buy a property with two tiny houses on it, an ownership stake in a marina and a 21-acre cattle ranch on Bradford Island.\u003c/p>\n\u003cp>“I think the Delta changed who I [am],” Petty said. It made me realize the things I could do. If you’re willing to try things, the Delta will let you try them. That’s why I like the Delta.”\u003c/p>\n\u003cfigure id=\"attachment_11963682\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963682\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED.jpg\" alt=\"A person in an ornate hat smiles and looks at the camera.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-006-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Heidi Petty poses for a portrait at the Secrets of the Sea Circus Festival on Forbes Island in Brentwood, Contra Costa County, on Saturday, Sept. 30, 2023. Petty’s cattle ranch is off the shore of where the festival takes place, giving attendees a place to camp. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to her work for the county, Petty is now part of several creative endeavors, like \u003ca href=\"https://www.eventbrite.com/e/secrets-of-the-sea-circus-festival-aboard-forbes-island-tickets-530909202717?utm_experiment=test_share_listing&aff=ebdsshios\">\u003cem>Secrets of the Sea\u003c/em>\u003c/a>, an “immersive water circus” performed on a 5,000-square-foot barge docked near Petty’s ranch. The show was \u003ca href=\"http://www.NikkiBorodi.com\">cofounded by Nikki Borodi\u003c/a>, an artist who plans to produce future shows. Petty and the other owners of the marina have been transforming the barge, known as \u003ca href=\"https://www.atlasobscura.com/places/forbes-island\">Forbes Island\u003c/a>, into a performance venue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfgate.com/travel/article/forbes-island-sf-floating-island-returns-18180173.php\">Once a novelty restaurant docked in the San Francisco Bay\u003c/a>, the owners towed the barge up to the Delta. It has palm trees, a 40-foot lighthouse and a full restaurant below deck. \u003cem>Secrets of the Sea \u003c/em>was its inaugural event\u003cem>, \u003c/em>where dancers suspended from the lighthouse by cables twisted and turned, a fire-eater performed on a raft in the river and a burlesque performer strutted her stuff below deck. Petty and her partners expect to stage more shows on the river when they move the barge to their marina on Bethel Island.\u003c/p>\n\u003cfigure id=\"attachment_11973676\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973676\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut.jpg\" alt=\"Three people seated applying makeup surrounded by two small buildings.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-005-JY_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Performers Shannon Gray (left), Sam Malloy (center) and Myles Hochman (right) apply makeup before taking the stage at Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>An artist herself, Petty is glad that more creatives are moving to the area. She’s noticed that when her artist friends go to a local bar, they do get noticed by longtime Delta residents because “they dress funny; they’re artists.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘But more than anything, the locals are happy to see people clean things up. They just appreciate people who make things better. Anybody who’s willing to work is pretty welcome in the Delta.’","name":"pullquote","attributes":{"named":{"align":"right","size":"medium","citation":"Heidi Petty, watershed manager for Contra Costa Resource Conservation District.","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“But more than anything, the locals are happy to see people clean things up,” Petty said. “They just appreciate people who make things better. Anybody who’s willing to work is pretty welcome in the Delta.”\u003c/p>\n\u003cp>One way to irritate folks here, though, is to refer to the Delta as the Bay Area.\u003c/p>\n\u003cp>“We don’t live in the Bay Area; we live in the Delta!” said John Bento, a local architect who grew up in Rio Vista.\u003c/p>\n\u003cp>Bento and other locals gathered at a farmers market in Rio Vista for a meeting organized by the California Delta Chambers & Visitors Bureau.\u003c/p>\n\u003cp>“The Delta is still funky,” said Bill Wells, the group’s executive director. “I think everybody has kind of the attitude of ‘mind your own business’ up here.”\u003c/p>\n\u003cfigure id=\"attachment_11973674\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973674\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut.jpg\" alt=\"A bar with people at night.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-046-JY_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Attendees gather and listen to music after performances conclude at the Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While the newcomers are visible because of their aesthetic and creative projects, it’s not like people are flooding into these rural communities, he said. In fact, according to Wells, the population numbers have largely stayed the same for a hundred years. Still, some locals distrust the new people.\u003c/p>\n\u003cp>“The farmers that I talk to are more concerned about that than anybody else,” Wells said. “I think everybody else enjoys some controlled growth. The farmers are concerned because they have farm equipment, and they claim people are coming and stealing crap out of their farmyards.”\u003c/p>\n\u003cfigure id=\"attachment_11963686\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11963686\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED.jpg\" alt=\"A person kneels and breathes fire at the end of a short jetty.\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2023/10/20230930-Sea-Circus-029-JY-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ellie (who declined to give last name) breathes fire alongside his partner Ro (who declined to give last name) on a rotating dock during the Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s not clear who’s to blame if that’s true, Wells said, but it’s easy to be suspicious of the new people.\u003c/p>\n\u003ch2>Who’s ‘a good fit for the Delta’?\u003c/h2>\n\u003cp>“The people who are in the Delta are just amazing, wonderful people,” said Tim Anderson, \u003ca href=\"https://www.npr.org/2009/08/16/111851629/do-it-yourself-guru-makes-treasures-from-trash\">a well-known figure in the maker community\u003c/a>, who splits his time between Berkeley and a pig farm on Brannan Island along the San Joaquin River. Anderson’s crafty DIY sensibility is on display all over this farm, where he uses a battered sedan as a tractor and old apple crates to fence in his 100 pigs.\u003c/p>\n\u003cfigure id=\"attachment_11973679\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973679\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut.jpg\" alt=\"An acrobatic artist hanging by the arm during a performance.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/20230930-Sea-Circus-033-JY_qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Trapeze artist Shannon Gray is lifted out of the water during the Secrets of the Sea Circus Festival. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He acknowledges that the Delta was thriving “without us newcomers.”\u003c/p>\n\u003cp>“There’s something about the obvious flood risk that repels uptight, control freak kind of people,” he said. “The people in the Delta are there to have a good time and not stop people from having hobbies.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘My goal is to have all the high-functioning misfits move out to the Delta because that’s who’s a good fit for the Delta culture.’","name":"pullquote","attributes":{"named":{"align":"right","size":"medium","citation":"Tim Anderson, resident and pig farmer","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Anderson said many of his friends prefer to live in mobile tiny homes. In Oakland, they often ran up against permitting and regulation issues for tiny houses, but out in the Delta, there’s more space and fewer rules. There are 15 tiny houses at a marina down the road from Anderson’s pig farm and more are planned at another marina in Isleton for next year.\u003c/p>\n\u003cp>“My goal is to have all the high-functioning misfits move out to the Delta because that’s who’s a good fit for the Delta culture,” he said while unloading bales of hay from the roof and hood of his car. “We’re plugging into an existing society that is just miraculously compatible.”\u003c/p>\n\u003cfigure id=\"attachment_11973665\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11973665\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-scaled.jpg\" alt=\"A man with a hat sitting on the trunk of a car surrounded by pigs.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/01/tim-pigs-1-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Tim Anderson, a well-known figure in the maker community, with his pigs on his pig farm on Brannan Island in November 2023. \u003ccite>(John Kalish for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In early November, a bunch of Anderson’s friends got together in Isleton to carve giant pumpkins grown at a community farm on his property. The largest of the pumpkins was 350 pounds. The carvers fed the pumpkin flesh to his pigs and saved the seeds for eating later. Then, the friends hopped into their hollowed-out pumpkin crafts and paddled around in the San Joaquin River. It might seem wacky, but this type of exuberant, interactive art is an increasingly common sight around here.\u003c/p>\n\u003cp>\u003cem>Editor’s note: This story was updated to include Nikki Borodi’s role in the Secrets of the Sea Circus Festival and the correct employer of Heidi Petty. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11973656/bay-area-creatives-find-unexpected-welcome-in-small-town-delta","authors":["byline_news_11973656"],"programs":["news_72","news_26731"],"categories":["news_29992","news_6266","news_8"],"tags":["news_21334","news_1775","news_2513","news_22018"],"featImg":"news_11963684","label":"news_26731"},"news_11943512":{"type":"posts","id":"news_11943512","meta":{"index":"posts_1591205157","site":"news","id":"11943512","score":null,"sort":[1678975300000]},"guestAuthors":[],"slug":"oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","title":"Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo'","publishDate":1678975300,"format":"standard","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci data-stringify-type=\"italic\">This post is part of a series of stories on The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Even if he’s not always recognized as part of the Asian American community, Oakland-born rapper Guap is fiercely proud of his Filipino roots. On the last track of his 2021 album, \u003cem>1176\u003c/em>, he tells an origin story spanning decades and continents. His grandfather, a Black merchant marine stationed in Subic Bay in the Philippines, found himself with a rip in the pocket of his uniform. He found a young Filipina seamstress to repair the pocket — and fell in love. When his time in Subic Bay came to an end, the two married and moved to a one-story house in West Oakland, where they would eventually raise their grandchild Guap, the first-born child of their youngest daughter.\u003c/p>\n\u003cp>\u003cem>1176\u003c/em>, created in collaboration with Filipino American producer !llmind, is Guap’s most personal work to date. It’s the culmination of a circuitous path into the music industry, from first getting recognition as a \u003ca href=\"https://www.youtube.com/watch?v=eGRgVCLfRHw&skip_registered_account_check=true\">scam rapper\u003c/a> to being featured on \u003ca href=\"https://open.spotify.com/album/2n3quCZ0anEa46j2IveacI\">a Grammy-nominated album\u003c/a> and a \u003ca href=\"https://www.youtube.com/watch?v=xC-0vapGE0A\">Marvel movie soundtrack\u003c/a>. For the KQED series \"Mixed: Stories of Mixed-Race Californians,\" hosts Sasha Khokha and Marisa Lagos spoke to Guap about growing up Black and Filipino, the cultural impact his lola had on him, and how his mixed identity shows up in his music.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity — for the full version, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11943567\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11943567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png\" alt=\"A weathered white and light blue house sits in the middle as a young man in a light pink track suit points toward it with one hand, while holding his grandmother with the other. To the left, three teenagers are gathered as two kneel on the sidewalk playing dice.\" width=\"2250\" height=\"2250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png 2250w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1020x1020.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1536x1536.png 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-2048x2048.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1920x1920.png 1920w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother looking at the West Oakland house he grew up in. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On growing up with his grandparents\u003c/h2>\n\u003cp>A lot of my creativity and explorative intent just came from [my grandfather, Douglas]. He was super handy in carpentry and home improvement. I probably get everything else in my life from my grandma. She is the most hard-working, sacrificial person ever. She doesn't have a selfish bone in her body. I actually want her to be more selfish. I watched her work so many under-the-table jobs, fight to get legalized, even dealing with breast cancer and she’s still here.\u003c/p>\n\u003cp>[pullquote size=\"medium\" align=\"right\" citation=\"Guap, rapper and musician\"]'[My home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food.'[/pullquote]\u003c/p>\n\u003cp>We had a lot of fruit trees — a calamansi tree, which is a Filipino citrus fruit, a cherry tree, and an apple tree. And [my home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food, and we had an open-door policy. We had a lot of food and we shared it a lot so that my house was a home, not only to me growing up, but to a lot of my friends and people around us. My circle got so used to eating it that they kind of expected certain dishes: pancit, adobo, lumpia especially. I think that's from the nature of my relationship with my grandma.\u003c/p>\n\u003cfigure id=\"attachment_11943568\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943568 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg\" alt=\"A Filipina grandmother in a fuzzy, brown coat and wearing sunglasses smiles as she poses for a photo with her grandson, who towers above her and lays his cheek on top of his head, wears a pink, knitted sweater and silver durag.\" width=\"1707\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg 1707w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1024x1536.jpg 1024w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1365x2048.jpg 1365w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother, Corazon Mckinzy, in Oakland. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On navigating Blackness in the Filipino community\u003c/h2>\n\u003cp>There was a lot of love inherently and a lot of acceptance, but there was also a lot of subtle racism. Even the Filipino elders, who I was receiving it from, didn't really understand that it was racist. I never played sports, but I got compared to almost every athlete, mostly basketball players. And I used to be so irritated by that. I don't want to be compared to them. There was even light pressure to get me to try to play basketball, and it got weird.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside label=\"More from The California Report’s ‘Mixed’ series\" tag=\"mixed\"]\u003c/p>\n\u003cp>So it was little things that built up over time. Comments and assumptions. Now, I know that a lot of my mischievousness as a child was because of ADHD. [Back then] I'd fiddle around with something and get in trouble and that was because I was the Black kid, not because something else was troubling me. Normal mental health issues got waved off as Black problems.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[When I visited the Philippines] it was weird to see people almost as dark as me, but they still [were] kind of confused. The wildest thing was people coming up to me and touching my hair. My grandma warned me about that. But it was always cool when people just walked up speaking Tagalog assuming that I completely understood it because, you know, they'll try to talk slower if they feel like you’re foreign. So I thought that was cool.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11943560\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943560 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg\" alt=\"A Filipina family of about a dozen men, women and children sit smiling at a dinner table; one woman hugs a baby on her lap. Oakland rapper and musician, Guap, sits at the table on the right side smiling wearing a white tank top next to a woman in a green T-shirt. A stack of blue, plastic chairs are off to the side.\" width=\"2560\" height=\"1708\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1536x1025.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-2048x1366.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Guap with his extended family in the Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On performing at an LA Clippers game for Filipino Heritage Night\u003c/h2>\n\u003cp>Shout out to the homie Roslynn and her company, 1587. She's a connector for a lot of Filipino American artists, and because of her, I was able to perform at halftime at the Crypto Arena. I couldn't believe it. I was looking up at 15,000 people or something like that. It was a great vibe and I was just super humbled by it. When things like that happen, it doesn't even hit me until I get home and I just smile about it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XB7siF0VKjY\u003c/p>\n\u003ch2>On tapping into his roots when creating the song 'Chicken Adobo'\u003c/h2>\n\u003cp>I was making this album with !llmind, who's Filipino as well, and we were just kind of going over Filipino goals. [Like] what do I want out of this project? And I was like, you know, I always wanted a song that the Filipino kids or the islander kids with the ukulele can sing at the talent show, because we all know they're going to do it. He was going through some beats and he was like, \"You know, I have the perfect one.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1DaovaJgytE\u003c/p>\n\u003cp>And I was like, man, this makes me feel so warm. I want to make a love song. But if it's for Filipino kids, I'll talk about chicken adobo. That's my favorite food. And eating food reminds me of love [and] love for family. It's always food when I think about the old house, you know? So I was trying to channel that energy into the song, which is why I'm comparing the love of food to my love for this girl.\u003c/p>\n\u003cfigure id=\"attachment_11943561\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943561 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg\" alt=\"Rapper, musician Guap performs live on stage at a concert. He holds a mic in his hand as he wears a white tank top and red and orange-patterned pants.\" width=\"1708\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg 1708w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1020x1529.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1366x2048.jpg 1366w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Guap performing at a live concert in Manila, Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On advice for fellow mixed-race artists\u003c/h2>\n\u003cp>I need all my mixed people to talk about it. Express yourself. Express your vantage point, your perspective and put that in your art, especially to the artists. Let it become a part of your identity. I promise [that] the more you are self-aware, the less writer's block you have. You don't have to make anything up or fabricate anything when you can fully tap in with yourself. So don't deny your art that.\u003c/p>\n\u003cp>\u003ca id=\"anchor\">\u003c/a>\u003cbr>\n[hearken id=\"7528\" src=\"https://modules.wearehearken.com/kqed/embed/7528.js\"]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The rap star talks about his Black and Filipino roots and how being raised by his grandparents influenced his creative process. He was featured on the Marvel soundtrack for 'Shang-Chi and the Legend of the Ten Rings.'","status":"publish","parent":0,"modified":1679431442,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":18,"wordCount":1218},"headData":{"title":"Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo' | KQED","description":"The rap star talks about his Black and Filipino roots and how being raised by his grandparents influenced his creative process. He was featured on the Marvel soundtrack for 'Shang-Chi and the Legend of the Ten Rings.'","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Oakland Rapper Guap on His Black and Filipino Roots and What Inspired the Song 'Chicken Adobo'","datePublished":"2023-03-16T14:01:40.000Z","dateModified":"2023-03-21T20:44:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC1054402465.mp3?updated=1678903586","nprByline":"\u003ca href=\"https://www.kqed.org/author/jessicakariisa\">Jessica Kariisa\u003c/a> ","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11943512/oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/tag/mixed-race\">\u003ci data-stringify-type=\"italic\">This post is part of a series of stories on The California Report Magazine about the experience of being mixed race.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Even if he’s not always recognized as part of the Asian American community, Oakland-born rapper Guap is fiercely proud of his Filipino roots. On the last track of his 2021 album, \u003cem>1176\u003c/em>, he tells an origin story spanning decades and continents. His grandfather, a Black merchant marine stationed in Subic Bay in the Philippines, found himself with a rip in the pocket of his uniform. He found a young Filipina seamstress to repair the pocket — and fell in love. When his time in Subic Bay came to an end, the two married and moved to a one-story house in West Oakland, where they would eventually raise their grandchild Guap, the first-born child of their youngest daughter.\u003c/p>\n\u003cp>\u003cem>1176\u003c/em>, created in collaboration with Filipino American producer !llmind, is Guap’s most personal work to date. It’s the culmination of a circuitous path into the music industry, from first getting recognition as a \u003ca href=\"https://www.youtube.com/watch?v=eGRgVCLfRHw&skip_registered_account_check=true\">scam rapper\u003c/a> to being featured on \u003ca href=\"https://open.spotify.com/album/2n3quCZ0anEa46j2IveacI\">a Grammy-nominated album\u003c/a> and a \u003ca href=\"https://www.youtube.com/watch?v=xC-0vapGE0A\">Marvel movie soundtrack\u003c/a>. For the KQED series \"Mixed: Stories of Mixed-Race Californians,\" hosts Sasha Khokha and Marisa Lagos spoke to Guap about growing up Black and Filipino, the cultural impact his lola had on him, and how his mixed identity shows up in his music.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity — for the full version, listen to the audio at the top of this story.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_11943567\" class=\"wp-caption aligncenter\" style=\"max-width: 2250px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-11943567\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png\" alt=\"A weathered white and light blue house sits in the middle as a young man in a light pink track suit points toward it with one hand, while holding his grandmother with the other. To the left, three teenagers are gathered as two kneel on the sidewalk playing dice.\" width=\"2250\" height=\"2250\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit.png 2250w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-800x800.png 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1020x1020.png 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1536x1536.png 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-2048x2048.png 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/1176-no-edit-1920x1920.png 1920w\" sizes=\"(max-width: 2250px) 100vw, 2250px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother looking at the West Oakland house he grew up in. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On growing up with his grandparents\u003c/h2>\n\u003cp>A lot of my creativity and explorative intent just came from [my grandfather, Douglas]. He was super handy in carpentry and home improvement. I probably get everything else in my life from my grandma. She is the most hard-working, sacrificial person ever. She doesn't have a selfish bone in her body. I actually want her to be more selfish. I watched her work so many under-the-table jobs, fight to get legalized, even dealing with breast cancer and she’s still here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"'[My home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food.'","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","citation":"Guap, rapper and musician","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We had a lot of fruit trees — a calamansi tree, which is a Filipino citrus fruit, a cherry tree, and an apple tree. And [my home] was really like a cultural hub for the neighborhood because my grandma would cook so much Filipino food, and we had an open-door policy. We had a lot of food and we shared it a lot so that my house was a home, not only to me growing up, but to a lot of my friends and people around us. My circle got so used to eating it that they kind of expected certain dishes: pancit, adobo, lumpia especially. I think that's from the nature of my relationship with my grandma.\u003c/p>\n\u003cfigure id=\"attachment_11943568\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943568 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg\" alt=\"A Filipina grandmother in a fuzzy, brown coat and wearing sunglasses smiles as she poses for a photo with her grandson, who towers above her and lays his cheek on top of his head, wears a pink, knitted sweater and silver durag.\" width=\"1707\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-scaled.jpg 1707w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-800x1200.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1020x1530.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1024x1536.jpg 1024w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1365x2048.jpg 1365w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/fnf-14-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Guap and his grandmother, Corazon Mckinzy, in Oakland. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On navigating Blackness in the Filipino community\u003c/h2>\n\u003cp>There was a lot of love inherently and a lot of acceptance, but there was also a lot of subtle racism. Even the Filipino elders, who I was receiving it from, didn't really understand that it was racist. I never played sports, but I got compared to almost every athlete, mostly basketball players. And I used to be so irritated by that. I don't want to be compared to them. There was even light pressure to get me to try to play basketball, and it got weird.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"label":"More from The California Reports ‘Mixed series ","tag":"mixed"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it was little things that built up over time. Comments and assumptions. Now, I know that a lot of my mischievousness as a child was because of ADHD. [Back then] I'd fiddle around with something and get in trouble and that was because I was the Black kid, not because something else was troubling me. Normal mental health issues got waved off as Black problems.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[When I visited the Philippines] it was weird to see people almost as dark as me, but they still [were] kind of confused. The wildest thing was people coming up to me and touching my hair. My grandma warned me about that. But it was always cool when people just walked up speaking Tagalog assuming that I completely understood it because, you know, they'll try to talk slower if they feel like you’re foreign. So I thought that was cool.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_11943560\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943560 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg\" alt=\"A Filipina family of about a dozen men, women and children sit smiling at a dinner table; one woman hugs a baby on her lap. Oakland rapper and musician, Guap, sits at the table on the right side smiling wearing a white tank top next to a woman in a green T-shirt. A stack of blue, plastic chairs are off to the side.\" width=\"2560\" height=\"1708\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-scaled.jpg 2560w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-800x534.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1536x1025.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-2048x1366.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-117-1920x1281.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Guap with his extended family in the Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On performing at an LA Clippers game for Filipino Heritage Night\u003c/h2>\n\u003cp>Shout out to the homie Roslynn and her company, 1587. She's a connector for a lot of Filipino American artists, and because of her, I was able to perform at halftime at the Crypto Arena. I couldn't believe it. I was looking up at 15,000 people or something like that. It was a great vibe and I was just super humbled by it. When things like that happen, it doesn't even hit me until I get home and I just smile about it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XB7siF0VKjY'\n title='//www.youtube.com/embed/XB7siF0VKjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>On tapping into his roots when creating the song 'Chicken Adobo'\u003c/h2>\n\u003cp>I was making this album with !llmind, who's Filipino as well, and we were just kind of going over Filipino goals. [Like] what do I want out of this project? And I was like, you know, I always wanted a song that the Filipino kids or the islander kids with the ukulele can sing at the talent show, because we all know they're going to do it. He was going through some beats and he was like, \"You know, I have the perfect one.\"\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/1DaovaJgytE'\n title='//www.youtube.com/embed/1DaovaJgytE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And I was like, man, this makes me feel so warm. I want to make a love song. But if it's for Filipino kids, I'll talk about chicken adobo. That's my favorite food. And eating food reminds me of love [and] love for family. It's always food when I think about the old house, you know? So I was trying to channel that energy into the song, which is why I'm comparing the love of food to my love for this girl.\u003c/p>\n\u003cfigure id=\"attachment_11943561\" class=\"wp-caption aligncenter\" style=\"max-width: 1708px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-11943561 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg\" alt=\"Rapper, musician Guap performs live on stage at a concert. He holds a mic in his hand as he wears a white tank top and red and orange-patterned pants.\" width=\"1708\" height=\"2560\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-scaled.jpg 1708w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-800x1199.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1020x1529.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1025x1536.jpg 1025w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1366x2048.jpg 1366w, https://ww2.kqed.org/app/uploads/sites/10/2023/03/PABATCHV2-78-1920x2879.jpg 1920w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Guap performing at a live concert in Manila, Philippines. \u003ccite>(Courtesy of Paul Middleton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>On advice for fellow mixed-race artists\u003c/h2>\n\u003cp>I need all my mixed people to talk about it. Express yourself. Express your vantage point, your perspective and put that in your art, especially to the artists. Let it become a part of your identity. I promise [that] the more you are self-aware, the less writer's block you have. You don't have to make anything up or fabricate anything when you can fully tap in with yourself. So don't deny your art that.\u003c/p>\n\u003cp>\u003ca id=\"anchor\">\u003c/a>\u003cbr>\n\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"hearken","attributes":{"named":{"id":"7528","src":"https://modules.wearehearken.com/kqed/embed/7528.js","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11943512/oakland-rapper-guap-on-his-black-and-filipino-roots-and-what-inspired-the-song-chicken-adobo","authors":["byline_news_11943512"],"programs":["news_72","news_26731"],"categories":["news_223","news_8"],"tags":["news_21334","news_30494","news_22973","news_27626","news_18477","news_32533","news_28093","news_1425","news_4142","news_18","news_30475","news_2318"],"featImg":"news_11943517","label":"news_26731"},"news_11897535":{"type":"posts","id":"news_11897535","meta":{"index":"posts_1591205157","site":"news","id":"11897535","score":null,"sort":[1638183645000]},"guestAuthors":[],"slug":"for-afghan-artists-in-the-bay-its-a-painful-time","title":"For Afghan Artists in the Bay, It’s a Painful Time","publishDate":1638183645,"format":"audio","headTitle":"For Afghan Artists in the Bay, It’s a Painful Time | KQED","labelTerm":{},"content":"\u003cp>Artists in Afghanistan are in trouble now that the Taliban are back in charge. Visual artists and performers are fleeing the country for fear of being harassed, persecuted, and even killed.\u003c/p>\n\u003cp>This has ripple effects here in the Bay Area, which is home to a well-networked Afghan community and many Afghan American artists. They fear that creativity and freedom of expression are under attack once again. And they’re responding in different ways — through raising money, through changing their artistic practices, and through using art to help newly arrived refugees.\u003c/p>\n\u003cp>\u003cstrong>Guest\u003c/strong>: \u003ca href=\"https://kqed.applytojob.com/apply/2Sdl1NZQzF/FullTime-Producer-The-Bay-Podcast\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Veltman\u003c/a>, KQED arts and culture reporter\u003c/p>\n\u003cp id=\"embed-code\" 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=KQINC3855545109&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13906386/bay-area-afghan-artists-step-up-in-response-to-crisis-facing-artists-in-afghanistan\">\u003cem>Bay Area Afghan Artists Step Up in Response to Crisis Facing Artists in Afghanistan\u003c/em>\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://kqed.applytojob.com/apply/2Sdl1NZQzF/FullTime-Producer-The-Bay-Podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We’re hiring a producer! Please apply by Dec. 1.\u003c/em>\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1700690975,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":130},"headData":{"title":"For Afghan Artists in the Bay, It’s a Painful Time | KQED","description":"Artists in Afghanistan are in trouble now that the Taliban are back in charge. Visual artists and performers are fleeing the country for fear of being harassed, persecuted, and even killed. This has ripple effects here in the Bay Area, which is home to a well-networked Afghan community and many Afghan American artists. They fear","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"For Afghan Artists in the Bay, It’s a Painful Time","datePublished":"2021-11-29T11:00:45.000Z","dateModified":"2023-11-22T22:09:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"source":"The Bay","sourceUrl":"https://www.kqed.org/podcasts/thebay","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/traffic.megaphone.fm/KQINC3855545109.mp3?updated=1638169289","excludeFromSiteSearch":"Include","path":"/news/11897535/for-afghan-artists-in-the-bay-its-a-painful-time","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artists in Afghanistan are in trouble now that the Taliban are back in charge. Visual artists and performers are fleeing the country for fear of being harassed, persecuted, and even killed.\u003c/p>\n\u003cp>This has ripple effects here in the Bay Area, which is home to a well-networked Afghan community and many Afghan American artists. They fear that creativity and freedom of expression are under attack once again. And they’re responding in different ways — through raising money, through changing their artistic practices, and through using art to help newly arrived refugees.\u003c/p>\n\u003cp>\u003cstrong>Guest\u003c/strong>: \u003ca href=\"https://kqed.applytojob.com/apply/2Sdl1NZQzF/FullTime-Producer-The-Bay-Podcast\" target=\"_blank\" rel=\"noopener noreferrer\">Chloe Veltman\u003c/a>, KQED arts and culture reporter\u003c/p>\n\u003cp id=\"embed-code\" 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=KQINC3855545109&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\n\u003c/p>\n\u003cp>\u003cstrong>Links:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13906386/bay-area-afghan-artists-step-up-in-response-to-crisis-facing-artists-in-afghanistan\">\u003cem>Bay Area Afghan Artists Step Up in Response to Crisis Facing Artists in Afghanistan\u003c/em>\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://kqed.applytojob.com/apply/2Sdl1NZQzF/FullTime-Producer-The-Bay-Podcast\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>We’re hiring a producer! Please apply by Dec. 1.\u003c/em>\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11897535/for-afghan-artists-in-the-bay-its-a-painful-time","authors":["11649","8608","11495","8654"],"programs":["news_28779"],"categories":["news_8","news_33520"],"tags":["news_19537","news_21334","news_22598"],"featImg":"news_11897536","label":"source_news_11897535"},"arts_13872482":{"type":"posts","id":"arts_13872482","meta":{"index":"posts_1591205157","site":"arts","id":"13872482","score":null,"sort":[1578502857000]},"guestAuthors":[],"slug":"sf-begins-search-for-new-head-of-cultural-affairs","title":"SF Begins Search for New Head of Cultural Affairs","publishDate":1578502857,"format":"audio","headTitle":"SF Begins Search for New Head of Cultural Affairs | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>The City of San Francisco is on the hunt for a new director of cultural affairs, since the person whose been running the city’s \u003ca href=\"https://sfgov.org/arts/\" target=\"_blank\" rel=\"noopener noreferrer\">arts commission\u003c/a> for the past eight years, \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/the-commission\" target=\"_blank\" rel=\"noopener noreferrer\">Tom DeCaigny\u003c/a>, announced he is stepping down late last week.\u003c/p>\n\u003cp>The San Francisco Arts Commission will be working with Mayor London Breed’s office to hire DeCaigny’s replacement over the coming months.\u003c/p>\n\u003cp>In the meantime, the city has appointed Rebekah Krell as acting director. Krell is currently the arts commission’s deputy director of finance and administration, and previously served as a legislative aide and mayor’s office budget analyst.\u003c/p>\n\u003cp>In a phone interview, DeCaigny said he is leaving the job to take a new position as executive director of the \u003ca href=\"https://www.artsed411.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Alliance for Arts Education\u003c/a> (CAAE).\u003c/p>\n\u003cp>“It’s bittersweet,” said DeCaigny of his decision to leave the arts commission. “But I have an amazing opportunity to work at the state level.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The director of cultural affairs oversees many aspects of the city’s artistic output from commissioning public artworks to giving out grants.\u003c/p>\n\u003cp>“It’s a difficult, multifaceted job,” said former head of \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Grants for the Arts\u003c/a>, Kary Schulman. She worked with DeCaigny and “six or seven” of his predecessors over the decades before retiring last year.\u003c/p>\n\u003cp>“Tom brought a consistent management style based on the needs of the agency that was not capricious or ideological,” said Schulman. “He brought a public service lens to the arts commission, really seeing it as serving the public. He also brought kindness to the job.” \u003c/p>\n\u003cp>During his tenure, DeCaigny doubled the arts commission’s annual budget to $40 million. He helped to pass Proposition E, which secured funds from the city’s hotel tax revenue for arts and culture purposes in perpetuity. He adopted the arts commission’s first Racial Equity Plan, and removed the contentious, colonialist \u003ci>Early Days\u003c/i> statue from San Francisco’s Civic Center, among other accomplishments.\u003c/p>\n\u003cp>“What made Tom a great leader and highly respected colleague was that he could play nice in the sandbox while still fiercely advocating for the arts,” said City Librarian Michael Lambert. “His strong support of the removal of the \u003ci>Early Days\u003c/i> sculpture will have a lasting positive impact for years to come.”\u003c/p>\n\u003cp>But DeCaigny regrets his inability to secure federal funding to create affordable housing for artists.\u003c/p>\n\u003cp>“Artists are a protected class for affordable housing,” DeCaigny said. “But we have not gotten political commitment to get federal dollars for this. So we haven’t yet been able to break ground on any projects, though we do have some sites identified.”\u003c/p>\n\u003cp>DeCaigny said he hopes his successor will make obtaining affordable housing for artists a priority.\u003c/p>\n\u003cp>He also had to deal with fraught city hall politics, most recently around the the city’s stalled plans to build a monument to Maya Angelou outside the main branch of the public library. DeCaigny said his team is working through the issues. He said he expects the new callout to artists for the commission to go out before his last day, on Friday, Jan. 24.\u003c/p>\n\u003cp>Life has arguably become tougher for artists and arts organizations in San Francisco since DeCaigny took office in 2012. Although the Prop E win will secure more dollars for cultural activities in the city going forwards, the increasing out-migration of the cultural community owing to ever-escalating rents, as well as growing disparities between the haves and have-nots, is likely make the next director of cultural affairs’ job particularly challenging.\u003c/p>\n\u003cp>Members of the local arts community agree the new hire will have their work cut out for them.\u003c/p>\n\u003cp>“It’s my hope that the next director will take steps to address and support affordable space,” said Moy Eng, who runs the Community Arts Stabilization Trust (CAST), a San Francisco-based affordable art-space development nonprofit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Without a clear vision for the city—not just the arts—we are so fragile,” said Yerba Buena Center for the Arts CEO, Deborah Cullinan. “The arts community is so critical and also decimated. We need a bold leader who can engage city leadership around vision and the critical role that artists play in any vibrant city.”\u003c/p>\n\n","blocks":[],"excerpt":"The city has appointed arts commission staffer Rebekah Krell as acting director while it undertakes its search.","status":"publish","parent":0,"modified":1705021544,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":746},"headData":{"title":"SF Begins Search for New Head of Cultural Affairs | KQED","description":"The city has appointed arts commission staffer Rebekah Krell as acting director while it undertakes its search.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SF Begins Search for New Head of Cultural Affairs","datePublished":"2020-01-08T17:00:57.000Z","dateModified":"2024-01-12T01:05:44.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2020/01/VeltmanSFCulturalAffairsDir.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13872482/sf-begins-search-for-new-head-of-cultural-affairs","audioDuration":48000,"audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of San Francisco is on the hunt for a new director of cultural affairs, since the person whose been running the city’s \u003ca href=\"https://sfgov.org/arts/\" target=\"_blank\" rel=\"noopener noreferrer\">arts commission\u003c/a> for the past eight years, \u003ca href=\"https://www.sfartscommission.org/our-role-impact/about-commission/the-commission\" target=\"_blank\" rel=\"noopener noreferrer\">Tom DeCaigny\u003c/a>, announced he is stepping down late last week.\u003c/p>\n\u003cp>The San Francisco Arts Commission will be working with Mayor London Breed’s office to hire DeCaigny’s replacement over the coming months.\u003c/p>\n\u003cp>In the meantime, the city has appointed Rebekah Krell as acting director. Krell is currently the arts commission’s deputy director of finance and administration, and previously served as a legislative aide and mayor’s office budget analyst.\u003c/p>\n\u003cp>In a phone interview, DeCaigny said he is leaving the job to take a new position as executive director of the \u003ca href=\"https://www.artsed411.org/\" target=\"_blank\" rel=\"noopener noreferrer\">California Alliance for Arts Education\u003c/a> (CAAE).\u003c/p>\n\u003cp>“It’s bittersweet,” said DeCaigny of his decision to leave the arts commission. “But I have an amazing opportunity to work at the state level.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The director of cultural affairs oversees many aspects of the city’s artistic output from commissioning public artworks to giving out grants.\u003c/p>\n\u003cp>“It’s a difficult, multifaceted job,” said former head of \u003ca href=\"https://sfgfta.org/\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Grants for the Arts\u003c/a>, Kary Schulman. She worked with DeCaigny and “six or seven” of his predecessors over the decades before retiring last year.\u003c/p>\n\u003cp>“Tom brought a consistent management style based on the needs of the agency that was not capricious or ideological,” said Schulman. “He brought a public service lens to the arts commission, really seeing it as serving the public. He also brought kindness to the job.” \u003c/p>\n\u003cp>During his tenure, DeCaigny doubled the arts commission’s annual budget to $40 million. He helped to pass Proposition E, which secured funds from the city’s hotel tax revenue for arts and culture purposes in perpetuity. He adopted the arts commission’s first Racial Equity Plan, and removed the contentious, colonialist \u003ci>Early Days\u003c/i> statue from San Francisco’s Civic Center, among other accomplishments.\u003c/p>\n\u003cp>“What made Tom a great leader and highly respected colleague was that he could play nice in the sandbox while still fiercely advocating for the arts,” said City Librarian Michael Lambert. “His strong support of the removal of the \u003ci>Early Days\u003c/i> sculpture will have a lasting positive impact for years to come.”\u003c/p>\n\u003cp>But DeCaigny regrets his inability to secure federal funding to create affordable housing for artists.\u003c/p>\n\u003cp>“Artists are a protected class for affordable housing,” DeCaigny said. “But we have not gotten political commitment to get federal dollars for this. So we haven’t yet been able to break ground on any projects, though we do have some sites identified.”\u003c/p>\n\u003cp>DeCaigny said he hopes his successor will make obtaining affordable housing for artists a priority.\u003c/p>\n\u003cp>He also had to deal with fraught city hall politics, most recently around the the city’s stalled plans to build a monument to Maya Angelou outside the main branch of the public library. DeCaigny said his team is working through the issues. He said he expects the new callout to artists for the commission to go out before his last day, on Friday, Jan. 24.\u003c/p>\n\u003cp>Life has arguably become tougher for artists and arts organizations in San Francisco since DeCaigny took office in 2012. Although the Prop E win will secure more dollars for cultural activities in the city going forwards, the increasing out-migration of the cultural community owing to ever-escalating rents, as well as growing disparities between the haves and have-nots, is likely make the next director of cultural affairs’ job particularly challenging.\u003c/p>\n\u003cp>Members of the local arts community agree the new hire will have their work cut out for them.\u003c/p>\n\u003cp>“It’s my hope that the next director will take steps to address and support affordable space,” said Moy Eng, who runs the Community Arts Stabilization Trust (CAST), a San Francisco-based affordable art-space development nonprofit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Without a clear vision for the city—not just the arts—we are so fragile,” said Yerba Buena Center for the Arts CEO, Deborah Cullinan. “The arts community is so critical and also decimated. We need a bold leader who can engage city leadership around vision and the critical role that artists play in any vibrant city.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13872482/sf-begins-search-for-new-head-of-cultural-affairs","authors":["8608"],"categories":["arts_1","arts_835","arts_235"],"tags":["arts_1118","arts_596","arts_1879"],"featImg":"arts_13828601","label":"arts"},"arts_13872608":{"type":"posts","id":"arts_13872608","meta":{"index":"posts_1591205157","site":"arts","id":"13872608","score":null,"sort":[1578445905000]},"guestAuthors":[],"slug":"concert-startup-sofar-sounds-to-pay-460000-to-uncompensated-workers","title":"Concert Startup Sofar Sounds to Pay $460,000 to Uncompensated Workers","publishDate":1578445905,"format":"standard","headTitle":"Concert Startup Sofar Sounds to Pay $460,000 to Uncompensated Workers | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Sofar Sounds—a company that books small, acoustic concerts at houses, stores and office spaces—has reached a $460,357.50 settlement with the New York State Department of Labor, \u003ca href=\"https://variety.com/2019/biz/news/whats-next-for-sofar-sounds-and-its-genius-volunteer-based-business-model-1203325982/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reports\u003c/a>. The money will be distributed among 654 unpaid workers, or, in Sofar parlance, “ambassadors,” who staffed concerts for the for-profit company between 2016 and 2019. [aside postid='arts_13857471']\u003c/p>\n\u003cp>The settlement comes after years of scrutiny of Sofar Sounds’ business model. Since its debut in London in 2009, the startup expanded to hundreds of cities across the globe, including San Francisco, Santa Cruz and San Jose, and became profitable by charging at the door for “secret shows” while using volunteer crews and paying musicians negligible stipends. When KQED’s Emma Silvers broke the story of \u003ca href=\"https://www.kqed.org/arts/13114272/sofar-sounds-house-shows-airbnb-middleman\" target=\"_blank\" rel=\"noopener noreferrer\">Sofar Sounds’ labor practices\u003c/a> in 2017, the company was valued at an estimated $22 million, with investment from Virgin’s Richard Branson. Meanwhile, bands were compensated with videos of their performances (and no cash), and then paid $50 per concert once they became “Sofar alums” and played additional shows.\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” Oakland singer-songwriter Madeline Kinney told KQED at the time. [aside postid='arts_13114272']\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://techcrunch.com/2019/05/21/how-sofar-sounds-works/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch\u003c/a> reported that Sofar upped its fees to $100 per band for a 25 minute set (which can work out to less than minimum wage when factoring in musicians’ travel and rehearsal time). The hosts who volunteered their homes as venues weren’t paid, yet Sofar made at least $1,000 to $1,600 per show, according to the report. In a \u003ca href=\"https://www.sofarsounds.com/blog/articles/how-money-works-at-a-sofar-show\" target=\"_blank\" rel=\"noopener noreferrer\">recent blog post\u003c/a>, Sofar CEO Jim Lucchese promised to increase artist compensation for bigger shows in February 2020. In September 2019, the company also pledged to hire paid, part-time crews to staff its concerts.\u003c/p>\n\u003cp>“When the Department of Labor opened its investigation, Sofar cooperated fully and immediately changed its business model,” the New York State Department of Labor wrote in an announcement. “Sofar now staffs all its events with paid employees. The company also agreed to immediately compensate ambassadors who provided any unpaid work.” [aside postid='arts_13852882']\u003c/p>\n\u003cp>After the settlement was reached, a Sofar spokesperson told \u003cem>Variety\u003c/em>: “Today’s agreement with the New York State Department of Labor stipulates no admission of guilt or wrongdoing and confirms our operating model is fully compliant with New York state law. We thank them for working collaboratively with us in New York, Sofar’s biggest U.S. market. We are excited about resolving these issues and moving forward in 2020, with a continued focus on connecting local and independent musicians with passionate music fans.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The company built its business model on free labor while raising millions of dollars in investments. ","status":"publish","parent":0,"modified":1705021548,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":483},"headData":{"title":"Concert Startup Sofar Sounds to Pay $460,000 to Uncompensated Workers | KQED","description":"The company built its business model on free labor while raising millions of dollars in investments. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Concert Startup Sofar Sounds to Pay $460,000 to Uncompensated Workers","datePublished":"2020-01-08T01:11:45.000Z","dateModified":"2024-01-12T01:05:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13872608/concert-startup-sofar-sounds-to-pay-460000-to-uncompensated-workers","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sofar Sounds—a company that books small, acoustic concerts at houses, stores and office spaces—has reached a $460,357.50 settlement with the New York State Department of Labor, \u003ca href=\"https://variety.com/2019/biz/news/whats-next-for-sofar-sounds-and-its-genius-volunteer-based-business-model-1203325982/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Variety\u003c/em> reports\u003c/a>. The money will be distributed among 654 unpaid workers, or, in Sofar parlance, “ambassadors,” who staffed concerts for the for-profit company between 2016 and 2019. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13857471","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The settlement comes after years of scrutiny of Sofar Sounds’ business model. Since its debut in London in 2009, the startup expanded to hundreds of cities across the globe, including San Francisco, Santa Cruz and San Jose, and became profitable by charging at the door for “secret shows” while using volunteer crews and paying musicians negligible stipends. When KQED’s Emma Silvers broke the story of \u003ca href=\"https://www.kqed.org/arts/13114272/sofar-sounds-house-shows-airbnb-middleman\" target=\"_blank\" rel=\"noopener noreferrer\">Sofar Sounds’ labor practices\u003c/a> in 2017, the company was valued at an estimated $22 million, with investment from Virgin’s Richard Branson. Meanwhile, bands were compensated with videos of their performances (and no cash), and then paid $50 per concert once they became “Sofar alums” and played additional shows.\u003c/p>\n\u003cp>“I think they talk a lot about supporting local artists, but what they’re actually doing is perpetuating the idea that it’s okay for musicians to get paid shit,” Oakland singer-songwriter Madeline Kinney told KQED at the time. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13114272","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2019, \u003ca href=\"https://techcrunch.com/2019/05/21/how-sofar-sounds-works/\" target=\"_blank\" rel=\"noopener noreferrer\">TechCrunch\u003c/a> reported that Sofar upped its fees to $100 per band for a 25 minute set (which can work out to less than minimum wage when factoring in musicians’ travel and rehearsal time). The hosts who volunteered their homes as venues weren’t paid, yet Sofar made at least $1,000 to $1,600 per show, according to the report. In a \u003ca href=\"https://www.sofarsounds.com/blog/articles/how-money-works-at-a-sofar-show\" target=\"_blank\" rel=\"noopener noreferrer\">recent blog post\u003c/a>, Sofar CEO Jim Lucchese promised to increase artist compensation for bigger shows in February 2020. In September 2019, the company also pledged to hire paid, part-time crews to staff its concerts.\u003c/p>\n\u003cp>“When the Department of Labor opened its investigation, Sofar cooperated fully and immediately changed its business model,” the New York State Department of Labor wrote in an announcement. “Sofar now staffs all its events with paid employees. The company also agreed to immediately compensate ambassadors who provided any unpaid work.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13852882","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the settlement was reached, a Sofar spokesperson told \u003cem>Variety\u003c/em>: “Today’s agreement with the New York State Department of Labor stipulates no admission of guilt or wrongdoing and confirms our operating model is fully compliant with New York state law. We thank them for working collaboratively with us in New York, Sofar’s biggest U.S. market. We are excited about resolving these issues and moving forward in 2020, with a continued focus on connecting local and independent musicians with passionate music fans.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13872608/concert-startup-sofar-sounds-to-pay-460000-to-uncompensated-workers","authors":["11387"],"categories":["arts_69","arts_235"],"tags":["arts_9604","arts_7469","arts_1118","arts_7471"],"featImg":"arts_13121352","label":"arts"},"arts_13870710":{"type":"posts","id":"arts_13870710","meta":{"index":"posts_1591205157","site":"arts","id":"13870710","score":null,"sort":[1575494276000]},"guestAuthors":[],"slug":"the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change","title":"Gig Economy Regulations Leave Artists’ Futures Unclear","publishDate":1575494276,"format":"standard","headTitle":"KQED Arts","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">Like many artists, comedian \u003c/span>\u003ca href=\"https://dhayacomedy.com/about.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Dhaya Lakshminarayanan\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> juggles multiple roles to make a living. “We've always sort of pieced together a tour, submitted a script, did a web series or a paid gig for Intel,” says Lakshminarayanan, who lives in San Francisco and performs all over the country. “And then we go and do a ten-dollar-tip-jar show.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since Governor Gavin Newsom signed \u003c/span>\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200AB5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Assembly Bill 5\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (AB5) into law in September, many California contractors—particularly those who work regular shifts for a single company—have shown up at rallies in support of the legislation. The new law, which will reclassify many former freelancers as employees \u003c/span>\u003cspan style=\"font-weight: 400\">when it takes effect \u003c/span>\u003cspan style=\"font-weight: 400\">on Jan. 1 next year, will grant more benefits such as paid sick leave, overtime and expense reimbursement to workers across the state.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet it’s still\u003c/span> \u003cspan style=\"font-weight: 400\">unclear how the law will affect artists and entertainers like Lakshminarayanan, who do all kinds of gigs for all kinds of clients, and whose practices don’t always align with the legal requirements of an employer-employee relationship. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">AB5 came from an \u003c/span>\u003cspan style=\"font-weight: 400\">effort to \u003c/span>\u003cspan style=\"font-weight: 400\">prevent employers from skimping on employee benefits, as the gig economy \u003c/span>\u003ca href=\"https://www.npr.org/2018/01/22/578825135/rise-of-the-contract-workers-work-is-different-now\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">redefined Americans’ relationship to the workplace\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the last decade. While targeted at ride share companies such as Uber and Lyft, this overhaul of California labor law comes with \u003c/span>\u003cspan style=\"font-weight: 400\">unintended consequences for other types of industries that, let's face it, also thrive on \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">cheap or even free labor to function\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, including arts organizations. Many arts institutions and freelance artists alike now find themselves in a state of confusion about how they will continue to do business come next year. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-13870715 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supporters of ride share drivers from Uber and Lyft hold a sign during a protest in front of Uber headquarters on May 08, 2019 in San Francisco. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though she doesn’t see much upside to the legislation for her own situation, Lakshminarayanan supports AB5 in principle. She says it will provide more stability for the many artists she knows who work side jobs for extra money.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For comedians who use Uber and Lyft as their ‘day job’ while they're trying to make it, I think AB5 is really beneficial, because you're looking for some stability and benefits,” she says. “You can't have two jobs where you're struggling with both of them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other cultural workers in the Bay Area are expressing anxiety around the incoming bill. \u003c/span>\u003cspan style=\"font-weight: 400\">Musical theater composer and lyricist \u003c/span>\u003ca href=\"http://www.ronlytle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Ron Lytle\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> says he feels like he’s in the dark about how to conduct his business going forward. \u003c/span>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">'m concerned about my future as a small independent who needs to produce demo recordings and albums to promote my work,” says Lytle. “I engage orchestrators, singers, musicians and studio engineers, which are necessary to produce a show or record an album. Without these tools, I can't license my shows.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also the issue of how AB5 will affect creative workers’ control over their intellectual property. “When you are an employee, your employer has the right to your intellectual property,” says Julie Baker, executive director of the statewide arts and culture advocacy group \u003c/span>\u003ca href=\"https://www.californiansforthearts.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Californians for the Arts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. “So that's a very important aspect of why many artists and creatives want to remain independent contractors.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Under AB5, in order to legally work with artists as freelancers, employers have to prove that they don’t control or direct the freelancer’s work, the freelancer is an established contractor in their field and that the freelancer performs work that lies outside an employer’s main line of business. The first two requirements are often easier to satisfy than the third. If the freelancer performs work similar to the employer’s main line of business, they may be covered by one of the law’s 50-plus exemptions—as long as they meet another specific set of criteria, including maintaining a separate business location, having a business license and negotiating their own rates for the services performed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complicated legislation is confusing even for labor experts. Lakshminarayan says if she is asked to become an employee to continue working for any of her clients, she plans to form her own limited liability company (LLC) to continue operating as a freelancer. “Create an LLC, and then you can be your own entity that collaborates with other artists,” she says. “Lots of comedians have done that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The new legislation isn’t just causing concern for individual artists. Baker says AB5 is a burden for the state’s cultural sector as a whole, which accounts for 7 percent of the state’s economy, according to the \u003c/span>\u003ca href=\"https://www.arts.gov/sites/default/files/BEA_2019_State_Summary.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">U.S. Bureau of Economic Analysis\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">Our industry is mostly run by nonprofit organizations with small budgets,\u003c/span>\u003cspan style=\"font-weight: 400\">” says Baker. “\u003c/span>\u003cspan style=\"font-weight: 400\">They mostly operate on a seasonal, performance, exhibit or classroom model. They do not generally fit into standard employment models\u003c/span>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Berkeley Repertory Theatre\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’s managing director Susie Medak says she cannot see any advantages of AB5 to California’s creative industries. \u003c/span>\u003cspan style=\"font-weight: 400\">“We have to figure out how to apply standard work rules to people who don't spend all their time working for us, whose work is not clearly defined and whose collective bargaining agreements allow them to work in less structured ways,” says Medak. “It's terribly complicated.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-800x600.jpg\" alt=\"Julie Baker (left) leads a workshop on AB5 on behalf of Californians for the Arts.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Baker (left) leads a workshop on AB5 on behalf of Californians for the Arts. \u003ccite>(Toyin Moses)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But some arts organizations have a more favorable view of AB5, and have even already taken steps to comply with the incoming legislation. \u003c/span>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Oakland Museum of California\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">is increasingly looking to temporary staffing agencies \u003c/span>\u003cspan style=\"font-weight: 400\">to fill jobs that might have previously gone to contractors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It actually opened the door for more people to think about museums as a career opportunity,” says the museum’s human resources director, Ayanna Reed. “So it created a more diverse workforce for us.”\u003c/span> \u003cb>\u003cbr>\n\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">But Reed also says complying with AB5 is likely to be costly and time-consuming for her organization, and could make many former freelancers feel like they’re making less money. “We're paying for worker's comp, we're paying unemployment—all of those things that AB5 set out to protect individuals with, and that's wonderful,” Reed says. “But that means we're also not paying that higher hourly rate that they would have received as an independent contractor.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are other gray areas with how AB5 is going to work. The legislation’s long list of exemptions includes “fine artists.” However, there’s fuzziness around what that category actually means. The bill’s author, California Assemblywoman Lorena Gonzalez, isn’t clear on who fits into the category.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Obviously, a muralist is a fine artist,” she says. “A musician is a fine artist.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, there’s currently no AB5 exemption specifically for musicians. Music industry advocates are among the strongest voices \u003c/span>\u003ca href=\"https://www.billboard.com/articles/business/legal-and-management/8529517/california-bill-music-industry-exemption\">\u003cspan style=\"font-weight: 400\">lobbying state lawmakers to tweak the new legislation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to better suit their needs. Lobbyists say the definitions may end up being worked out in court. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gonzalez says she is continuing to clarify how the law applies to musical artists and discussions with the unions and the industry are ongoing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The legislative session starts in January, so no further changes to the law can be made before the end of 2019. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She says she is open to adapting the law in the future. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think as our world changes, the definition of a fine artist changes,” she says. “This is going to be an ongoing discussion.”\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"A new California law upends the past decade’s labor practices, redefining how artists do business.","status":"publish","parent":0,"modified":1575494394,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1337},"headData":{"title":"Gig Economy Regulations Leave Artists’ Futures Unclear | KQED","description":"A new California law upends the past decade’s labor practices, redefining how artists do business.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Gig Economy Regulations Leave Artists’ Futures Unclear","datePublished":"2019-12-04T21:17:56.000Z","dateModified":"2019-12-04T21:19:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"13870710 https://ww2.kqed.org/arts/?p=13870710","disqusUrl":"https://ww2.kqed.org/arts/2019/12/04/the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change/","disqusTitle":"Gig Economy Regulations Leave Artists’ Futures Unclear","templateType":"eod","featuredImageType":"standard","postYear":"2019","postArticleBullets":[{"bullet":"The Bay Area’s homeless population ranks third highest in the nation, with 70 percent unsheltered. ","bulletLink":"/news/11739894/bay-area-has-3rd-largest-homeless-population-in-country-nearly-70-have-no-shelter"},{"bullet":"The police shooting of Willie McCoy, a 20-year-old asleep in his car, illuminates years of questionable use-of-force practices in the Vallejo Police Department.","bulletLink":"/news/11768008/the-life-and-death-of-willie-mccoy"},{"bullet":"Demonstrators interrupt San Francisco Pride to protest San Francisco police officers marching in the parade. ","bulletLink":"/news/11758329/sf-pride-parade-briefly-halted-by-anti-police-anti-corporate-protest"},{"bullet":"House Speaker Nancy Pelosi, a San Francisco Democrat, announces a formal impeachment inquiry into President Donald Trump.","bulletLink":"/news/11776241/nancy-pelosi-announces-formal-impeachment-inquiry-into-president-trump"}],"path":"/arts/13870710/the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Like many artists, comedian \u003c/span>\u003ca href=\"https://dhayacomedy.com/about.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Dhaya Lakshminarayanan\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> juggles multiple roles to make a living. “We've always sort of pieced together a tour, submitted a script, did a web series or a paid gig for Intel,” says Lakshminarayanan, who lives in San Francisco and performs all over the country. “And then we go and do a ten-dollar-tip-jar show.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since Governor Gavin Newsom signed \u003c/span>\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billTextClient.xhtml?bill_id=201920200AB5\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Assembly Bill 5\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (AB5) into law in September, many California contractors—particularly those who work regular shifts for a single company—have shown up at rallies in support of the legislation. The new law, which will reclassify many former freelancers as employees \u003c/span>\u003cspan style=\"font-weight: 400\">when it takes effect \u003c/span>\u003cspan style=\"font-weight: 400\">on Jan. 1 next year, will grant more benefits such as paid sick leave, overtime and expense reimbursement to workers across the state.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Yet it’s still\u003c/span> \u003cspan style=\"font-weight: 400\">unclear how the law will affect artists and entertainers like Lakshminarayanan, who do all kinds of gigs for all kinds of clients, and whose practices don’t always align with the legal requirements of an employer-employee relationship. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">AB5 came from an \u003c/span>\u003cspan style=\"font-weight: 400\">effort to \u003c/span>\u003cspan style=\"font-weight: 400\">prevent employers from skimping on employee benefits, as the gig economy \u003c/span>\u003ca href=\"https://www.npr.org/2018/01/22/578825135/rise-of-the-contract-workers-work-is-different-now\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">redefined Americans’ relationship to the workplace\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in the last decade. While targeted at ride share companies such as Uber and Lyft, this overhaul of California labor law comes with \u003c/span>\u003cspan style=\"font-weight: 400\">unintended consequences for other types of industries that, let's face it, also thrive on \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13857471/artist-passion-exploitation-duke-study\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">cheap or even free labor to function\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, including arts organizations. Many arts institutions and freelance artists alike now find themselves in a state of confusion about how they will continue to do business come next year. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-13870715 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-768x512.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-1200x800.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/GettyImages-1147843872-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Supporters of ride share drivers from Uber and Lyft hold a sign during a protest in front of Uber headquarters on May 08, 2019 in San Francisco. \u003ccite>(Justin Sullivan/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even though she doesn’t see much upside to the legislation for her own situation, Lakshminarayanan supports AB5 in principle. She says it will provide more stability for the many artists she knows who work side jobs for extra money.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“For comedians who use Uber and Lyft as their ‘day job’ while they're trying to make it, I think AB5 is really beneficial, because you're looking for some stability and benefits,” she says. “You can't have two jobs where you're struggling with both of them.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Other cultural workers in the Bay Area are expressing anxiety around the incoming bill. \u003c/span>\u003cspan style=\"font-weight: 400\">Musical theater composer and lyricist \u003c/span>\u003ca href=\"http://www.ronlytle.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Ron Lytle\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> says he feels like he’s in the dark about how to conduct his business going forward. \u003c/span>\u003cspan style=\"font-weight: 400\">“I\u003c/span>\u003cspan style=\"font-weight: 400\">'m concerned about my future as a small independent who needs to produce demo recordings and albums to promote my work,” says Lytle. “I engage orchestrators, singers, musicians and studio engineers, which are necessary to produce a show or record an album. Without these tools, I can't license my shows.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s also the issue of how AB5 will affect creative workers’ control over their intellectual property. “When you are an employee, your employer has the right to your intellectual property,” says Julie Baker, executive director of the statewide arts and culture advocacy group \u003c/span>\u003ca href=\"https://www.californiansforthearts.org\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Californians for the Arts\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. “So that's a very important aspect of why many artists and creatives want to remain independent contractors.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Under AB5, in order to legally work with artists as freelancers, employers have to prove that they don’t control or direct the freelancer’s work, the freelancer is an established contractor in their field and that the freelancer performs work that lies outside an employer’s main line of business. The first two requirements are often easier to satisfy than the third. If the freelancer performs work similar to the employer’s main line of business, they may be covered by one of the law’s 50-plus exemptions—as long as they meet another specific set of criteria, including maintaining a separate business location, having a business license and negotiating their own rates for the services performed.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The complicated legislation is confusing even for labor experts. Lakshminarayan says if she is asked to become an employee to continue working for any of her clients, she plans to form her own limited liability company (LLC) to continue operating as a freelancer. “Create an LLC, and then you can be your own entity that collaborates with other artists,” she says. “Lots of comedians have done that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The new legislation isn’t just causing concern for individual artists. Baker says AB5 is a burden for the state’s cultural sector as a whole, which accounts for 7 percent of the state’s economy, according to the \u003c/span>\u003ca href=\"https://www.arts.gov/sites/default/files/BEA_2019_State_Summary.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">U.S. Bureau of Economic Analysis\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">Our industry is mostly run by nonprofit organizations with small budgets,\u003c/span>\u003cspan style=\"font-weight: 400\">” says Baker. “\u003c/span>\u003cspan style=\"font-weight: 400\">They mostly operate on a seasonal, performance, exhibit or classroom model. They do not generally fit into standard employment models\u003c/span>\u003cspan style=\"font-weight: 400\">.”\u003c/span>\u003c/p>\n\u003cp>\u003ca href=\"https://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Berkeley Repertory Theatre\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">’s managing director Susie Medak says she cannot see any advantages of AB5 to California’s creative industries. \u003c/span>\u003cspan style=\"font-weight: 400\">“We have to figure out how to apply standard work rules to people who don't spend all their time working for us, whose work is not clearly defined and whose collective bargaining agreements allow them to work in less structured ways,” says Medak. “It's terribly complicated.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870716\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-800x600.jpg\" alt=\"Julie Baker (left) leads a workshop on AB5 on behalf of Californians for the Arts.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses-1020x765.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/Julie-Baker-left-leads-a-workshop-on-AB5-on-behalf-of-Californians-for-the-Arts-photo-by-Toyin-Moses.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julie Baker (left) leads a workshop on AB5 on behalf of Californians for the Arts. \u003ccite>(Toyin Moses)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">But some arts organizations have a more favorable view of AB5, and have even already taken steps to comply with the incoming legislation. \u003c/span>\u003cspan style=\"font-weight: 400\">The \u003c/span>\u003ca href=\"https://museumca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Oakland Museum of California\u003c/span>\u003c/a> \u003cspan style=\"font-weight: 400\">is increasingly looking to temporary staffing agencies \u003c/span>\u003cspan style=\"font-weight: 400\">to fill jobs that might have previously gone to contractors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It actually opened the door for more people to think about museums as a career opportunity,” says the museum’s human resources director, Ayanna Reed. “So it created a more diverse workforce for us.”\u003c/span> \u003cb>\u003cbr>\n\u003c/b>\u003cb>\u003cbr>\n\u003c/b>\u003cspan style=\"font-weight: 400\">But Reed also says complying with AB5 is likely to be costly and time-consuming for her organization, and could make many former freelancers feel like they’re making less money. “We're paying for worker's comp, we're paying unemployment—all of those things that AB5 set out to protect individuals with, and that's wonderful,” Reed says. “But that means we're also not paying that higher hourly rate that they would have received as an independent contractor.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are other gray areas with how AB5 is going to work. The legislation’s long list of exemptions includes “fine artists.” However, there’s fuzziness around what that category actually means. The bill’s author, California Assemblywoman Lorena Gonzalez, isn’t clear on who fits into the category.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Obviously, a muralist is a fine artist,” she says. “A musician is a fine artist.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In fact, there’s currently no AB5 exemption specifically for musicians. Music industry advocates are among the strongest voices \u003c/span>\u003ca href=\"https://www.billboard.com/articles/business/legal-and-management/8529517/california-bill-music-industry-exemption\">\u003cspan style=\"font-weight: 400\">lobbying state lawmakers to tweak the new legislation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to better suit their needs. Lobbyists say the definitions may end up being worked out in court. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Gonzalez says she is continuing to clarify how the law applies to musical artists and discussions with the unions and the industry are ongoing.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The legislative session starts in January, so no further changes to the law can be made before the end of 2019. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She says she is open to adapting the law in the future. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I think as our world changes, the definition of a fine artist changes,” she says. “This is going to be an ongoing discussion.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870710/the-gig-economy-defined-how-artists-do-business-heres-whats-likely-to-change","authors":["8608"],"categories":["arts_835","arts_235"],"tags":["arts_9357","arts_9358","arts_7190","arts_9345","arts_9344"],"featImg":"arts_13870714","label":"arts"},"news_11679230":{"type":"posts","id":"news_11679230","meta":{"index":"posts_1591205157","site":"news","id":"11679230","score":null,"sort":[1531000011000]},"guestAuthors":[],"slug":"boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist","title":"Boots Riley, Tommy Orange and the Summer of the Oakland Artist","publishDate":1531000011,"format":"video","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>\u003cem>“What was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or any-thing if I like but not there, there is no there there.”\u003c/em>\u003c/p>\n\u003cp>— Gertrude Stein, 1937, \"Everybody’s Autobiography\"\u003c/p>\n\u003cp>That quote, much abused and shortened, taken out of context and misunderstood, has long been misapplied to Oakland. You’ve probably heard it, maybe even said it yourself, “there is no there there.” But Stein wasn’t talking about some lacunae at the heart of the town. She was talking about her own childhood home, her own neighborhood, that feeling we have when we return to the place where we were young only to find it no longer there.\u003c/p>\n\u003cp>“She was talking nostalgically, that the Oakland she knew no longer existed,” Ishmael Reed, the prolific \u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\">Oakland-based novelist\u003c/a>, said, “a lot of people have taken that as a put down.”\u003c/p>\n\u003cp>Other writers have been clearly insulting in their takes on Oakland. “Bret Harte, when the earthquake hit, he said it didn’t do much damage in Oakland, because there are some places even the earth won’t swallow,” Reed said. “I mean that’s the kind of hit you get on Oakland.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Reed has written around a dozen novels, and that does not include his \u003ca href=\"https://www.poetryfoundation.org/poets/ishmael-reed\" target=\"_blank\" rel=\"noopener\">countless books\u003c/a> of history, poems, criticism and plays. His latest, \u003ca href=\"https://africasacountry.com/2018/06/soul-brother-krishna\" target=\"_blank\" rel=\"noopener\">\"Conjugating Hindi\"\u003c/a>, set in part in California and Oakland, was published this year.\u003c/p>\n\u003cp>Writer Tommy Orange has also just published a book, his first novel, \"There There.\" It’s been heaped with praise by reviewers and has been on the \u003ca href=\"https://www.nytimes.com/2018/05/31/books/tommy-orange-there-there-native-american.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a> Best Sellers list for the past month.\u003c/p>\n\u003cp>https://twitter.com/AAKnopf/status/1007274371923234816\u003c/p>\n\u003cp>Orange said he set out to write an Oakland novel, a novel that contained the city he grew up in, which is why he picked the Stein quote. “'There, there' has been used to say it doesn’t have culture. Or it doesn’t have place, or it doesn’t have a feel to it,” Orange said.\u003c/p>\n\u003cp>“It’s a very convenient quote if you’re gentrifying some place, to be like 'there’s no place there anyway,' or 'nobodys from Oakland',” Orange said. “All the new people here, all the new white people gentrifying, it’s very convenient to have that feeling.”\u003c/p>\n\u003cp>That feeling, Orange said, is just wrong.\u003c/p>\n\u003cp>This summer, Oakland artists are pushing back against the narrative of an invisible city, for all the world to see. They are portraying the place and the people from here with spectacular and sweeping visions, from a film that uses satirical science fiction to take on capitalism, racism and gentrification, to a story spanning the intertwining lives of urban Native Americans and their deep history in Oakland.\u003c/p>\n\u003cp>\u003cstrong>Sorry To Bother You\u003c/strong>\u003c/p>\n\u003cp>Boots Riley, musician with The Coup, \u003ca href=\"https://www.nytimes.com/2018/05/22/magazine/how-boots-riley-infiltrated-hollywood.html\" target=\"_blank\" rel=\"noopener\">activist, local intellectual and man-about-The-Town\u003c/a>, filmed his movie \"Sorry To Bother You\" over 28 days last summer in Oakland. Now, after getting attention on the festival circuit, it’s opening nationally.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XeISaoQDh2g\u003c/p>\n\u003cp>Riley said growing up in Oakland, he would endlessly \u003ca href=\"https://www.vanityfair.com/hollywood/2018/07/sorry-to-bother-you-boots-riley-oakland\" target=\"_blank\" rel=\"noopener\">ride the bus back and forth through the flatlands of the city\u003c/a>. From San Leandro, through East Oakland, all the way down Telegraph Avenue and into Berkeley.\u003c/p>\n\u003cp>“The Oakland that I grew up in was one in which we were constantly wanting to be engaged with something bigger than us,” Riley said. “We felt like there was nothing to do, we felt like there weren’t things available to us.”\u003c/p>\n\u003cp>Later, when they got older, they would drive in cars, “we didn’t get on the freeway because that trip was what it was all about, looking for signs of life.”\u003c/p>\n\u003cp>On those long car rides, they would pass boarded up buildings, neighborhoods abandoned by infrastructure, places and people in which the city did not invest. They would also find others like them, say hello while stopped at red lights, whole streams of young people driving in cars, looking for life and each other. It sounds like a scene out of \"American Graffiti,\" or any of our childhoods, before social media. But Riley said because these were black teenagers, Oakland passed anti-cruising laws, making what for so many was a rite of passage into an illegal activity.\u003c/p>\n\u003cp>That didn’t stop culture and creativity from creeping up through cracks in the concrete. The young people of Oakland made music, \u003ca href=\"https://www.kqed.org/news/11668394/spinning-rims-spinning-cars-the-history-of-the-oakland-sideshow\" target=\"_blank\" rel=\"noopener\">staged sideshows\u003c/a>, invented \u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">turfing\u003c/a>, a specific style of street dancing known for its fluid and hypnotic movements, and created a new genre of hip-hop that came to be called hyphy.\u003c/p>\n\u003cp>Riley said the city and local businesses continually put up bars to access and inclusion. Even when they had the artists and wanted to set up shows, the city wouldn’t approve permits for them, or would make them prohibitively expensive to put on. There was a fear of black people gathering en masse, he said. It wasn’t just the anti-cruising laws, it was also clamp downs on events like Festival at The Lake.\u003c/p>\n\u003cp>“Refusing access to places, has been a big part of my growing up,” Riley said. He said that was especially true when it came to music.\u003c/p>\n\u003cp>The most glaring example for Riley is \u003ca href=\"https://www.sfgate.com/news/article/Oakland-Pulls-Plug-on-Rap-Concert-City-rejects-2983526.php\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, who many claim as Oakland’s own. “Tupac couldn’t perform in Oakland,” Riley said. “They wouldn’t let it happen. The venues that existed in Oakland, wouldn’t do hip-hop.”\u003c/p>\n\u003cp>It was not that there was “no there there” for Riley, it was that systems of power and economic forces were working very hard against people being anywhere. If they were black.\u003c/p>\n\u003cp>https://youtu.be/X3mUlxpeLUg\u003c/p>\n\u003cp>\u003cstrong>Fighting Cliched Representation \u003c/strong>\u003c/p>\n\u003cp>Boots Riley’s film is now available to audiences across the country, representing Oakland to the world at large.\u003c/p>\n\u003cp>Feeling represented, feeling seen, is important, Riley said. He remembers when Sheila E. came back to her high school, Oakland High, where Riley was a student, to pass out tickets to her new movie, \u003ca href=\"https://www.youtube.com/watch?v=yjEJ5UqH0pY\" target=\"_blank\" rel=\"noopener\">Krush Groove\u003c/a>.\u003c/p>\n\u003cp>“She came to the school in her full Prince-style regalia,” he said. “It seemed like there was a light around her as she walked through the hall, like of your high school!”\u003c/p>\n\u003cp>“That meant that we meant something,” he said. “We were told so much that we are insignificant. Through life, and what we see on television or in the movies.”\u003c/p>\n\u003cp>Representation is important, but for Riley making this movie is about more than reflecting Oakland back to the people who live here. Representation is also about how Oakland appears to the outside world. Not just with images of the city and its residents, but the radical politics that thrive here, from the Black Panthers to Occupy Oakland to Black Lives Matter.\u003c/p>\n\u003cp>“I’m fighting cliche,” Riley said. “Usually when we make something, we tend to fall into the conventions of the people that have done it before.”\u003c/p>\n\u003cp>Representation on the left has problems of its own, Riley said. For him, diversifying representation is not enough. \"Even on the left, we've moved away from class struggle in the last 50 years and started talking about things in terms of people's personalities,\" he said. \"As an effect of the McCarthy era, even in places like public radio, people won't put out an idea that makes them look like they might be a communist. So they water down their philosophy so much, that we lie to people, we tell each other that the way to change things is by letting our voice be heard.\" This perpetuates a myth that representation — that '\u003ca href=\"http://www.pulitzer.org/article/not-giving-voice-voiceless\">giving voice to the voiceless\u003c/a>' as the cliche has it — is enough. For Riley, representation without rigorous class analysis, without tools for reshaping the power dynamics that cage the working class from the ruling class, can never be enough.\u003c/p>\n\u003cp>Art, Riley said, has the power to reshape our conceptions, even to spread the message that power structures can be dismantled by the withholding of labor. “Much of what we believe about the world, like what we envision of the world, is formed by works of art: Movies, TV.”\u003c/p>\n\u003cp>And yes, sometimes that does start with the way we see places. “Like I’ve never been to Delhi,” Riley said. “I’ve a picture in my head of what it looks like and that picture is not even from the news, it’s probably from James Bond movies, with really racist ideas about it.”\u003c/p>\n\u003cp>Oakland has not been immune from these kinds of racist, outsider representations. When President Donald Trump was a candidate, he was asked by the \u003ca href=\"https://www.nytimes.com/2016/05/22/magazine/donald-trump-primary-win.html?_r=1\" target=\"_blank\" rel=\"noopener\">New York Times where the most dangerous place he had ever been to was\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“There are places in America that are among the most dangerous in the world,” Trump responded. “You go to places like Oakland. Or Ferguson. The crime numbers are worse. Seriously.”\u003c/p>\u003c/blockquote>\n\u003cp>Oakland did have a high crime rate in the 1990’s and in the 2000’s, but the crime, and murder rate, has dropped significantly in recent years. It is not, by these statistics, one of the most dangerous cities in the United States, let alone the entire world.\u003c/p>\n\u003cp>But those broad brush strokes have shaped Oakland's image for a long time, often erasing the culture, political and artistic, of people here.\u003c/p>\n\u003cp>Writer Tommy Orange is all too familiar with that myth of Oakland. “People know of Oakland, but it was like the murder capital in the 90’s and sort of has that representation,” he said.\u003c/p>\n\u003cp>Orange wanted to find different representations of his hometown. He searched for Oakland novels while writing his book, and was surprised to find so few.\u003c/p>\n\u003cp>“A lot of writing this,” Orange said, “came from the native invisibility, and then the Oakland invisibility thing.”\u003c/p>\n\u003cp>\u003cstrong>There There\u003c/strong>\u003c/p>\n\u003cp>For Orange, the Gertrude Stein quote speaks not just to the invisibility of Oakland, but the invisibility of native people, especially in cities. “For native people, similarly, we live on land that has been changed from what it was,” Orange said. “The novel is about identity and native identity, and figuring out how we make sense of living in the city.”\u003c/p>\n\u003cp>Orange came into an understanding of his identity, as what he calls an urban Indian, over time. Urban Indian is a term that has come to refer to native people who have moved and relocated, whether by force or choice, to cities and metropolitan areas.\u003c/p>\n\u003cp>“I would always say I’m native, but I’d probably say I’m half,” he said. “Because as a native person you're constantly have to qualify yourself, or how much, or you’re actually being directly asked how much you are.”\u003c/p>\n\u003cp>“I knew my mom was white and my dad was Indian,” he said. “It was a conflict in the house to some extent, and I knew it was a deep conflict based on history, and that was just something that I always knew.”\u003c/p>\n\u003cp>But what he didn’t always know was where he fit. “There’s a difference identity-wise, if you were born on the rez, and you’re part of...” he pauses. “If you’re from a reservation you’re surrounded by people of your same tribe. People from the city, who grew up in the city, not only are you not around your tribe, you're around a lot of non-Indian people.”\u003c/p>\n\u003cp>Orange’s parents divorced when he was 13-years-old, and he said his teenage years were hard. But in 2005, he got a job at the \u003ca href=\"http://www.nativehealth.org/\" target=\"_blank\" rel=\"noopener\">Native American Health Center\u003c/a> in Oakland, and found the urban Indian community here, “I felt that sense of belonging again, and belonging to a community of people that were like me,” he said. “I didn’t even know that community existed.”\u003c/p>\n\u003cp>“It definitely changed me in a big way to feel like, oh there’s other people like me here, and there’s a long history of us being here,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11679459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11679459\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/therethere-800x533.jpg\" alt=\"A copy of Tommy Orange's "There There," a first novel from the author, which has been on the New York Times Best Sellers list for the past month.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">A copy of Tommy Orange's \"There There,\" a first novel from the author, which has been on the New York Times Best Sellers list for the past month. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He writes of that community in \"There There\":\u003c/p>\n\u003cp>“We bought and rented homes, slept on the streets, under freeways, we went to school, joined the armed forces, populated Indian bars in the Fruitvale in Oakland, and in the Mission in San Francisco. We lived in boxcar villages in Richmond. We made art and we made babies and we made way for our people to go back and forth between reservation and city. We did not move to cities to die. The sidewalks and streets, the concrete absorbed our heaviness. The glass, metal, rubber and wires, the speed, the hurtling masses—the city took us in.”\u003c/p>\n\u003cp>Giving representation to the urban Indian, Orange said, is a big part of why he wrote this book. “It’s a totally different experience being an urban Indian than it is being a rez Indian, and so much of representation is based on reservation Indians or historical Indians,” he said.\u003c/p>\n\u003cp>“It risks being erased, if all you can refer to as self is historical — then you’re basically already gone.”\u003c/p>\n\u003cp>Gone, as in not there at all.\u003c/p>\n\u003cp>\u003cstrong>Here, Here\u003c/strong>\u003c/p>\n\u003cp>There are these subtle parallels between the experiences of exclusion and the search for significance and belonging in both Riley’s and Orange’s childhoods, and in their paths to storytelling.\u003c/p>\n\u003cp>But of course, the biggest parallel, is that they are both telling stories grounded in their Oaklands, which both are, and are not, the same place. Maybe it is a coincidence, that in the same summer, their work is finding acclaim before a national audience. Oakland seems to be having a moment in the zeitgeist.\u003c/p>\n\u003cp>Riley said that isn't just happening in books and movies. His socialist and communist ideologies, of dismantling capitalism through withholding labor, are finding a foothold in national politics. Which is why Riley said despite everything that is happening in American politics right now, he is hopeful. \"The population is much more radical than the democratic party,\" Riley said. \"There was a right wing think tank that did this study of millennials and they were \u003ca href=\"http://www.foxnews.com/us/2017/11/03/millennials-think-socialism-would-create-great-safe-space-study-finds.html\">up in arms\u003c/a> at the results,\" Riley said. \"The results were that \u003ca href=\"https://www.theguardian.com/us-news/2017/sep/02/socialism-young-americans-bernie-sanders\">one in two millennials think this should be a socialist society\u003c/a>, and that gives me hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11679334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11679334\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-986802002-800x533.jpg\" alt=\"Director Boots Riley attends the Film Independent At LACMA Presents Screening And Q&A Of 'Sorry To Bother You' at Bing Theater At LACMA on June 28, 2018 in Los Angeles, California.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Director Boots Riley attends the Film Independent At LACMA Presents Screening And Q&A Of 'Sorry To Bother You' at Bing Theater At LACMA on June 28, 2018 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley sees artists like himself being embraced as part of a deeper change in radical representation. Tommy Orange also sees his success as part of a larger phenomenon, both of Native writers, and of the city he is from.\u003c/p>\n\u003cp>“Oakland’s having a great year,” Orange said. He’s referring not only to Riley and himself, but also a certain hometown basketball team. “And hopefully that will not be a wave that comes and goes and recedes.”\u003c/p>\n\u003cp>Recently Orange had his own Gertrude Stein moment, going back to the street he grew up on. But unlike with Stein, his house was still there. He took his wife and son, and they had a picnic near his childhood home.\u003c/p>\n\u003cp>“It looked totally small, because when you go back to things from your childhood you just feel big, because you are bigger,” he said. “But there's also something about memory and the way size and scope changes.”\u003c/p>\n\u003cp>There was another change he noticed too, “the money that has come into Oakland, has changed the street. It was a lot nicer than I remember it,” he laughed.\u003c/p>\n\u003cp>Orange said the people still felt very much the same. But that isn’t true for everyone.\u003c/p>\n\u003cp>Oakland writer Ishmael Reed said he doesn’t recognize his neighborhood anymore. “This used to be a black neighborhood,” he said. “It’s now, no longer that. Everybody knew everybody, it was like more of a family neighborhood. But now, people seem to be alienated.”\u003c/p>\n\u003cp>Here comes the classic moment in any Oakland story, that always turns the knife. The city in which both Riley and Orange were raised is changing. And for many Native and black people, it is no longer affordable. At the same moment that these storytellers are gaining national attention for their work about diverse and complicated Oakland, it has become less and less possible for black and Native people to afford to live here. In the glow of all this representation, of them showing the \u003cem>there\u003c/em> that is \u003cem>here\u003c/em>, the people that have been here all along, can’t always stay.\u003c/p>\n\u003cp>Tommy Orange and his family do not live in Oakland, because he has not been able to afford the steadily rising rents.\u003c/p>\n\u003cp>“We’re currently live out in Angels Camp,” he said. “Were thinking of moving back in the fall, because now we can afford it. And we haven’t been able to move back, because we haven’t been able to afford it.”\u003c/p>\n\u003cp>Now, with the success of his new book, he may just be able to come back. Writing a book about his beloved Oakland, may have provided him the resources to return home.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If we make it back in the fall,” Orange said, “I’ll think of it like that. Like Oakland allowed me to come back.”\u003c/p>\n\n","blocks":[],"excerpt":"Oakland is ready for its closeup. We take a little tour through Oakland's cinematic and literary history to see how the summer of 2018 is different.","status":"publish","parent":0,"modified":1532741440,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":70,"wordCount":3094},"headData":{"title":"Boots Riley, Tommy Orange and the Summer of the Oakland Artist | KQED","description":"Oakland is ready for its closeup. We take a little tour through Oakland's cinematic and literary history to see how the summer of 2018 is different.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"NewsArticle","headline":"Boots Riley, Tommy Orange and the Summer of the Oakland Artist","datePublished":"2018-07-07T21:46:51.000Z","dateModified":"2018-07-28T01:30:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png","isAccessibleForFree":"Y","publisher":{"@type":"NewsMediaOrganization","@id":"https://www.kqed.org/#organization","name":"KQED","url":"https://www.kqed.org","logo":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}}},"disqusIdentifier":"11679230 https://ww2.kqed.org/news/?p=11679230","disqusUrl":"https://ww2.kqed.org/news/2018/07/07/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist/","disqusTitle":"Boots Riley, Tommy Orange and the Summer of the Oakland Artist","videoEmbed":"https://vimeo.com/278727750","audioTrackLength":447,"path":"/news/11679230/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/2018/07/DirksOaklandCreative.mp3","audioDuration":448000,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“What was the use of my having come from Oakland it was not natural to have come from there yes write about it if I like or any-thing if I like but not there, there is no there there.”\u003c/em>\u003c/p>\n\u003cp>— Gertrude Stein, 1937, \"Everybody’s Autobiography\"\u003c/p>\n\u003cp>That quote, much abused and shortened, taken out of context and misunderstood, has long been misapplied to Oakland. You’ve probably heard it, maybe even said it yourself, “there is no there there.” But Stein wasn’t talking about some lacunae at the heart of the town. She was talking about her own childhood home, her own neighborhood, that feeling we have when we return to the place where we were young only to find it no longer there.\u003c/p>\n\u003cp>“She was talking nostalgically, that the Oakland she knew no longer existed,” Ishmael Reed, the prolific \u003ca href=\"http://ishmaelreed.org/\" target=\"_blank\" rel=\"noopener\">Oakland-based novelist\u003c/a>, said, “a lot of people have taken that as a put down.”\u003c/p>\n\u003cp>Other writers have been clearly insulting in their takes on Oakland. “Bret Harte, when the earthquake hit, he said it didn’t do much damage in Oakland, because there are some places even the earth won’t swallow,” Reed said. “I mean that’s the kind of hit you get on Oakland.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Reed has written around a dozen novels, and that does not include his \u003ca href=\"https://www.poetryfoundation.org/poets/ishmael-reed\" target=\"_blank\" rel=\"noopener\">countless books\u003c/a> of history, poems, criticism and plays. His latest, \u003ca href=\"https://africasacountry.com/2018/06/soul-brother-krishna\" target=\"_blank\" rel=\"noopener\">\"Conjugating Hindi\"\u003c/a>, set in part in California and Oakland, was published this year.\u003c/p>\n\u003cp>Writer Tommy Orange has also just published a book, his first novel, \"There There.\" It’s been heaped with praise by reviewers and has been on the \u003ca href=\"https://www.nytimes.com/2018/05/31/books/tommy-orange-there-there-native-american.html\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a> Best Sellers list for the past month.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1007274371923234816"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Orange said he set out to write an Oakland novel, a novel that contained the city he grew up in, which is why he picked the Stein quote. “'There, there' has been used to say it doesn’t have culture. Or it doesn’t have place, or it doesn’t have a feel to it,” Orange said.\u003c/p>\n\u003cp>“It’s a very convenient quote if you’re gentrifying some place, to be like 'there’s no place there anyway,' or 'nobodys from Oakland',” Orange said. “All the new people here, all the new white people gentrifying, it’s very convenient to have that feeling.”\u003c/p>\n\u003cp>That feeling, Orange said, is just wrong.\u003c/p>\n\u003cp>This summer, Oakland artists are pushing back against the narrative of an invisible city, for all the world to see. They are portraying the place and the people from here with spectacular and sweeping visions, from a film that uses satirical science fiction to take on capitalism, racism and gentrification, to a story spanning the intertwining lives of urban Native Americans and their deep history in Oakland.\u003c/p>\n\u003cp>\u003cstrong>Sorry To Bother You\u003c/strong>\u003c/p>\n\u003cp>Boots Riley, musician with The Coup, \u003ca href=\"https://www.nytimes.com/2018/05/22/magazine/how-boots-riley-infiltrated-hollywood.html\" target=\"_blank\" rel=\"noopener\">activist, local intellectual and man-about-The-Town\u003c/a>, filmed his movie \"Sorry To Bother You\" over 28 days last summer in Oakland. Now, after getting attention on the festival circuit, it’s opening nationally.\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/XeISaoQDh2g'\n title='//www.youtube.com/embed/XeISaoQDh2g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Riley said growing up in Oakland, he would endlessly \u003ca href=\"https://www.vanityfair.com/hollywood/2018/07/sorry-to-bother-you-boots-riley-oakland\" target=\"_blank\" rel=\"noopener\">ride the bus back and forth through the flatlands of the city\u003c/a>. From San Leandro, through East Oakland, all the way down Telegraph Avenue and into Berkeley.\u003c/p>\n\u003cp>“The Oakland that I grew up in was one in which we were constantly wanting to be engaged with something bigger than us,” Riley said. “We felt like there was nothing to do, we felt like there weren’t things available to us.”\u003c/p>\n\u003cp>Later, when they got older, they would drive in cars, “we didn’t get on the freeway because that trip was what it was all about, looking for signs of life.”\u003c/p>\n\u003cp>On those long car rides, they would pass boarded up buildings, neighborhoods abandoned by infrastructure, places and people in which the city did not invest. They would also find others like them, say hello while stopped at red lights, whole streams of young people driving in cars, looking for life and each other. It sounds like a scene out of \"American Graffiti,\" or any of our childhoods, before social media. But Riley said because these were black teenagers, Oakland passed anti-cruising laws, making what for so many was a rite of passage into an illegal activity.\u003c/p>\n\u003cp>That didn’t stop culture and creativity from creeping up through cracks in the concrete. The young people of Oakland made music, \u003ca href=\"https://www.kqed.org/news/11668394/spinning-rims-spinning-cars-the-history-of-the-oakland-sideshow\" target=\"_blank\" rel=\"noopener\">staged sideshows\u003c/a>, invented \u003ca href=\"https://www.youtube.com/watch?v=JQRRnAhmB58\" target=\"_blank\" rel=\"noopener\">turfing\u003c/a>, a specific style of street dancing known for its fluid and hypnotic movements, and created a new genre of hip-hop that came to be called hyphy.\u003c/p>\n\u003cp>Riley said the city and local businesses continually put up bars to access and inclusion. Even when they had the artists and wanted to set up shows, the city wouldn’t approve permits for them, or would make them prohibitively expensive to put on. There was a fear of black people gathering en masse, he said. It wasn’t just the anti-cruising laws, it was also clamp downs on events like Festival at The Lake.\u003c/p>\n\u003cp>“Refusing access to places, has been a big part of my growing up,” Riley said. He said that was especially true when it came to music.\u003c/p>\n\u003cp>The most glaring example for Riley is \u003ca href=\"https://www.sfgate.com/news/article/Oakland-Pulls-Plug-on-Rap-Concert-City-rejects-2983526.php\" target=\"_blank\" rel=\"noopener\">Tupac Shakur\u003c/a>, who many claim as Oakland’s own. “Tupac couldn’t perform in Oakland,” Riley said. “They wouldn’t let it happen. The venues that existed in Oakland, wouldn’t do hip-hop.”\u003c/p>\n\u003cp>It was not that there was “no there there” for Riley, it was that systems of power and economic forces were working very hard against people being anywhere. If they were black.\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/X3mUlxpeLUg'\n title='//www.youtube.com/embed/X3mUlxpeLUg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Fighting Cliched Representation \u003c/strong>\u003c/p>\n\u003cp>Boots Riley’s film is now available to audiences across the country, representing Oakland to the world at large.\u003c/p>\n\u003cp>Feeling represented, feeling seen, is important, Riley said. He remembers when Sheila E. came back to her high school, Oakland High, where Riley was a student, to pass out tickets to her new movie, \u003ca href=\"https://www.youtube.com/watch?v=yjEJ5UqH0pY\" target=\"_blank\" rel=\"noopener\">Krush Groove\u003c/a>.\u003c/p>\n\u003cp>“She came to the school in her full Prince-style regalia,” he said. “It seemed like there was a light around her as she walked through the hall, like of your high school!”\u003c/p>\n\u003cp>“That meant that we meant something,” he said. “We were told so much that we are insignificant. Through life, and what we see on television or in the movies.”\u003c/p>\n\u003cp>Representation is important, but for Riley making this movie is about more than reflecting Oakland back to the people who live here. Representation is also about how Oakland appears to the outside world. Not just with images of the city and its residents, but the radical politics that thrive here, from the Black Panthers to Occupy Oakland to Black Lives Matter.\u003c/p>\n\u003cp>“I’m fighting cliche,” Riley said. “Usually when we make something, we tend to fall into the conventions of the people that have done it before.”\u003c/p>\n\u003cp>Representation on the left has problems of its own, Riley said. For him, diversifying representation is not enough. \"Even on the left, we've moved away from class struggle in the last 50 years and started talking about things in terms of people's personalities,\" he said. \"As an effect of the McCarthy era, even in places like public radio, people won't put out an idea that makes them look like they might be a communist. So they water down their philosophy so much, that we lie to people, we tell each other that the way to change things is by letting our voice be heard.\" This perpetuates a myth that representation — that '\u003ca href=\"http://www.pulitzer.org/article/not-giving-voice-voiceless\">giving voice to the voiceless\u003c/a>' as the cliche has it — is enough. For Riley, representation without rigorous class analysis, without tools for reshaping the power dynamics that cage the working class from the ruling class, can never be enough.\u003c/p>\n\u003cp>Art, Riley said, has the power to reshape our conceptions, even to spread the message that power structures can be dismantled by the withholding of labor. “Much of what we believe about the world, like what we envision of the world, is formed by works of art: Movies, TV.”\u003c/p>\n\u003cp>And yes, sometimes that does start with the way we see places. “Like I’ve never been to Delhi,” Riley said. “I’ve a picture in my head of what it looks like and that picture is not even from the news, it’s probably from James Bond movies, with really racist ideas about it.”\u003c/p>\n\u003cp>Oakland has not been immune from these kinds of racist, outsider representations. When President Donald Trump was a candidate, he was asked by the \u003ca href=\"https://www.nytimes.com/2016/05/22/magazine/donald-trump-primary-win.html?_r=1\" target=\"_blank\" rel=\"noopener\">New York Times where the most dangerous place he had ever been to was\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“There are places in America that are among the most dangerous in the world,” Trump responded. “You go to places like Oakland. Or Ferguson. The crime numbers are worse. Seriously.”\u003c/p>\u003c/blockquote>\n\u003cp>Oakland did have a high crime rate in the 1990’s and in the 2000’s, but the crime, and murder rate, has dropped significantly in recent years. It is not, by these statistics, one of the most dangerous cities in the United States, let alone the entire world.\u003c/p>\n\u003cp>But those broad brush strokes have shaped Oakland's image for a long time, often erasing the culture, political and artistic, of people here.\u003c/p>\n\u003cp>Writer Tommy Orange is all too familiar with that myth of Oakland. “People know of Oakland, but it was like the murder capital in the 90’s and sort of has that representation,” he said.\u003c/p>\n\u003cp>Orange wanted to find different representations of his hometown. He searched for Oakland novels while writing his book, and was surprised to find so few.\u003c/p>\n\u003cp>“A lot of writing this,” Orange said, “came from the native invisibility, and then the Oakland invisibility thing.”\u003c/p>\n\u003cp>\u003cstrong>There There\u003c/strong>\u003c/p>\n\u003cp>For Orange, the Gertrude Stein quote speaks not just to the invisibility of Oakland, but the invisibility of native people, especially in cities. “For native people, similarly, we live on land that has been changed from what it was,” Orange said. “The novel is about identity and native identity, and figuring out how we make sense of living in the city.”\u003c/p>\n\u003cp>Orange came into an understanding of his identity, as what he calls an urban Indian, over time. Urban Indian is a term that has come to refer to native people who have moved and relocated, whether by force or choice, to cities and metropolitan areas.\u003c/p>\n\u003cp>“I would always say I’m native, but I’d probably say I’m half,” he said. “Because as a native person you're constantly have to qualify yourself, or how much, or you’re actually being directly asked how much you are.”\u003c/p>\n\u003cp>“I knew my mom was white and my dad was Indian,” he said. “It was a conflict in the house to some extent, and I knew it was a deep conflict based on history, and that was just something that I always knew.”\u003c/p>\n\u003cp>But what he didn’t always know was where he fit. “There’s a difference identity-wise, if you were born on the rez, and you’re part of...” he pauses. “If you’re from a reservation you’re surrounded by people of your same tribe. People from the city, who grew up in the city, not only are you not around your tribe, you're around a lot of non-Indian people.”\u003c/p>\n\u003cp>Orange’s parents divorced when he was 13-years-old, and he said his teenage years were hard. But in 2005, he got a job at the \u003ca href=\"http://www.nativehealth.org/\" target=\"_blank\" rel=\"noopener\">Native American Health Center\u003c/a> in Oakland, and found the urban Indian community here, “I felt that sense of belonging again, and belonging to a community of people that were like me,” he said. “I didn’t even know that community existed.”\u003c/p>\n\u003cp>“It definitely changed me in a big way to feel like, oh there’s other people like me here, and there’s a long history of us being here,” he said.\u003c/p>\n\u003cfigure id=\"attachment_11679459\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11679459\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/therethere-800x533.jpg\" alt=\"A copy of Tommy Orange's "There There," a first novel from the author, which has been on the New York Times Best Sellers list for the past month.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">A copy of Tommy Orange's \"There There,\" a first novel from the author, which has been on the New York Times Best Sellers list for the past month. \u003ccite>(Sandhya Dirks/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He writes of that community in \"There There\":\u003c/p>\n\u003cp>“We bought and rented homes, slept on the streets, under freeways, we went to school, joined the armed forces, populated Indian bars in the Fruitvale in Oakland, and in the Mission in San Francisco. We lived in boxcar villages in Richmond. We made art and we made babies and we made way for our people to go back and forth between reservation and city. We did not move to cities to die. The sidewalks and streets, the concrete absorbed our heaviness. The glass, metal, rubber and wires, the speed, the hurtling masses—the city took us in.”\u003c/p>\n\u003cp>Giving representation to the urban Indian, Orange said, is a big part of why he wrote this book. “It’s a totally different experience being an urban Indian than it is being a rez Indian, and so much of representation is based on reservation Indians or historical Indians,” he said.\u003c/p>\n\u003cp>“It risks being erased, if all you can refer to as self is historical — then you’re basically already gone.”\u003c/p>\n\u003cp>Gone, as in not there at all.\u003c/p>\n\u003cp>\u003cstrong>Here, Here\u003c/strong>\u003c/p>\n\u003cp>There are these subtle parallels between the experiences of exclusion and the search for significance and belonging in both Riley’s and Orange’s childhoods, and in their paths to storytelling.\u003c/p>\n\u003cp>But of course, the biggest parallel, is that they are both telling stories grounded in their Oaklands, which both are, and are not, the same place. Maybe it is a coincidence, that in the same summer, their work is finding acclaim before a national audience. Oakland seems to be having a moment in the zeitgeist.\u003c/p>\n\u003cp>Riley said that isn't just happening in books and movies. His socialist and communist ideologies, of dismantling capitalism through withholding labor, are finding a foothold in national politics. Which is why Riley said despite everything that is happening in American politics right now, he is hopeful. \"The population is much more radical than the democratic party,\" Riley said. \"There was a right wing think tank that did this study of millennials and they were \u003ca href=\"http://www.foxnews.com/us/2017/11/03/millennials-think-socialism-would-create-great-safe-space-study-finds.html\">up in arms\u003c/a> at the results,\" Riley said. \"The results were that \u003ca href=\"https://www.theguardian.com/us-news/2017/sep/02/socialism-young-americans-bernie-sanders\">one in two millennials think this should be a socialist society\u003c/a>, and that gives me hope.\"\u003c/p>\n\u003cfigure id=\"attachment_11679334\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-11679334\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/07/GettyImages-986802002-800x533.jpg\" alt=\"Director Boots Riley attends the Film Independent At LACMA Presents Screening And Q&A Of 'Sorry To Bother You' at Bing Theater At LACMA on June 28, 2018 in Los Angeles, California.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">Director Boots Riley attends the Film Independent At LACMA Presents Screening And Q&A Of 'Sorry To Bother You' at Bing Theater At LACMA on June 28, 2018 in Los Angeles, California. \u003ccite>(Tommaso Boddi/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Riley sees artists like himself being embraced as part of a deeper change in radical representation. Tommy Orange also sees his success as part of a larger phenomenon, both of Native writers, and of the city he is from.\u003c/p>\n\u003cp>“Oakland’s having a great year,” Orange said. He’s referring not only to Riley and himself, but also a certain hometown basketball team. “And hopefully that will not be a wave that comes and goes and recedes.”\u003c/p>\n\u003cp>Recently Orange had his own Gertrude Stein moment, going back to the street he grew up on. But unlike with Stein, his house was still there. He took his wife and son, and they had a picnic near his childhood home.\u003c/p>\n\u003cp>“It looked totally small, because when you go back to things from your childhood you just feel big, because you are bigger,” he said. “But there's also something about memory and the way size and scope changes.”\u003c/p>\n\u003cp>There was another change he noticed too, “the money that has come into Oakland, has changed the street. It was a lot nicer than I remember it,” he laughed.\u003c/p>\n\u003cp>Orange said the people still felt very much the same. But that isn’t true for everyone.\u003c/p>\n\u003cp>Oakland writer Ishmael Reed said he doesn’t recognize his neighborhood anymore. “This used to be a black neighborhood,” he said. “It’s now, no longer that. Everybody knew everybody, it was like more of a family neighborhood. But now, people seem to be alienated.”\u003c/p>\n\u003cp>Here comes the classic moment in any Oakland story, that always turns the knife. The city in which both Riley and Orange were raised is changing. And for many Native and black people, it is no longer affordable. At the same moment that these storytellers are gaining national attention for their work about diverse and complicated Oakland, it has become less and less possible for black and Native people to afford to live here. In the glow of all this representation, of them showing the \u003cem>there\u003c/em> that is \u003cem>here\u003c/em>, the people that have been here all along, can’t always stay.\u003c/p>\n\u003cp>Tommy Orange and his family do not live in Oakland, because he has not been able to afford the steadily rising rents.\u003c/p>\n\u003cp>“We’re currently live out in Angels Camp,” he said. “Were thinking of moving back in the fall, because now we can afford it. And we haven’t been able to move back, because we haven’t been able to afford it.”\u003c/p>\n\u003cp>Now, with the success of his new book, he may just be able to come back. Writing a book about his beloved Oakland, may have provided him the resources to return home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If we make it back in the fall,” Orange said, “I’ll think of it like that. Like Oakland allowed me to come back.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11679230/boots-riley-tommy-orange-and-the-summer-of-the-oakland-artist","authors":["7239"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_21334","news_22872","news_19542","news_18","news_22871","news_17041","news_150"],"featImg":"news_11679459","label":"news_72"},"arts_13741259":{"type":"posts","id":"arts_13741259","meta":{"index":"posts_1591205157","site":"arts","id":"13741259","score":null,"sort":[1501106447000]},"guestAuthors":[],"slug":"bay-area-hip-hop-on-soundclouds-uncertain-future","title":"SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists","publishDate":1501106447,"format":"image","headTitle":"SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>According to a \u003ca href=\"https://techcrunch.com/2017/07/12/soundshroud/\" target=\"_blank\" rel=\"noopener\">recent TechCrunch report\u003c/a>, SoundCloud has only enough funding to last through the beginning of October. And while the official word from its PR team is that the popular streaming service is fully funded through the end of the fourth quarter, it’s evident that SoundCloud hasn’t been successful at creating a profitable business model. The Berlin-based company recently \u003ca href=\"https://ww2.kqed.org/arts/2017/07/06/soundcloud-cuts-173-jobs-shutters-san-francisco-and-london-offices/\" target=\"_blank\" rel=\"noopener\">laid off 40 percent of its staff and closed its London and San Francisco offices\u003c/a>, leaving users and staff doubting the platform’s longevity. \u003c/p>\n\u003cp>SoundCloud’s primary appeal lies in its 150 million-plus user-uploaded songs, DJ mixes, and podcasts otherwise unavailable on mainstream streaming services such as Spotify, Tidal, Pandora, and Apple Music. Whereas artists must pay digital distributors like \u003ca href=\"https://www.mondotunes.com/%20\" target=\"_blank\" rel=\"noopener\">MondoTunes (formerly TuneCore)\u003c/a> and \u003ca href=\"https://members.cdbaby.com/\" target=\"_blank\" rel=\"noopener\">CD Baby\u003c/a> to get their music onto these streaming giants, on SoundCloud, musicians upload their work for free. Songs on SoundCloud have the potential to go viral thanks to its repost feature — which works the same way retweets do on Twitter — making it possible for independent artists to attract audiences without record deals, publicists, or placements on popular playlists. \u003c/p>\n\u003cp>“SoundCloud was this phenomenon that allowed you to get discovered,” says Evangeline Elder, the manager of Richmond singer Rayana Jay. “That’s where a lot of curators were getting their insights from on who’s the next artist to possibly to blow up or who’s emerging.”\u003c/p>\n\u003cfigure id=\"attachment_12928309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" class=\"size-medium wp-image-12928309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay’s “Magic” accumulated a quarter-million listens in just two weeks on SoundCloud. \u003ccite>(Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to SoundCloud’s social sharing functions, previously unheard-of artists from niche regional scenes, like Philadelphia’s Lil Uzi Vert and South Florida’s Kodak Black, have risen to mainstream fame. The term “\u003ca href=\"http://www.rollingstone.com/music/features/look-at-me-the-noisy-soundcloud-revolution-changing-rap-w485101\" target=\"_blank\" rel=\"noopener\">SoundCloud rap\u003c/a>” is now used — though, more often than not, in a derogatory or tongue-in-cheek way — to describe the alternative, youthful rap style that flourishes on the platform (a scene that, according to critics, has become derivative of the platform’s most successful songs).\u003c/p>\n\u003cp>“Now, if SoundCloud can’t recover after all these reports I’m seeing, it’s going to mean a lot for artists who don’t have infrastructure or a management team or publicists,” Elder continues, adding that viral hits on the app, like Xxxtentacion’s “Look At Me,” have made careers almost overnight. She fears that if this free, democratic platform were to lose its relevance because of corporate upheaval, “the freedom of being an independent artist without a plan [would be] taken away.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>SoundCloud has been hugely advantageous for local artists such as Oakland’s Kamaiyah, who quickly ascended to an Interscope deal and a collaboration with Drake off the strength of her self-released single, “\u003ca href=\"https://soundcloud.com/kamaiyah/how-does-it-feel-2\" target=\"_blank\" rel=\"noopener\">How Does It Feel\u003c/a>.” According to artists and industry insiders, the Bay Area is notorious for having an insular music scene that mainstream labels tend to overlook. The ability to use SoundCloud to bypass industry gatekeepers has been crucial for the Bay Area’s newest breakout stars. Elder recalls, for instance, how Rayana Jay, the singer she manages, received an outpouring of business opportunities after her song “Magic” accumulated 250,000 plays on SoundCloud in its first two weeks. \u003c/p>\n\u003cfigure id=\"attachment_13741654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg\" alt=\"East Bay artist Rexx Life Raj has benefitted from SoundCloud's viral opportunities.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13741654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay artist Rexx Life Raj has benefitted from SoundCloud’s viral opportunities. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley rapper Rexx Life Raj had a similar experience when the website Hot New Hip-Hop reposted his song “Shit n’ Floss” on its SoundCloud page, catapulting it to over 734,000 streams. “It boosted the record in a crazy way,” he says. “It put it into a million people’s phones.”\u003c/p>\n\u003cp>Over the past several years, SoundCloud has struggled to monetize its business model, introducing ads and offering two tiers of ad-free subscriptions, SoundCloud Go and SoundCloud Go+. But according to the TechCrunch report that broke the news about the company’s recent layoffs, SoundCloud’s number of listeners is said to have fallen from 175 million to somewhere near 70 million over the past three years. \u003c/p>\n\u003cp>“Soundcloud made a mistake when it lost track of its strengths,” says Tyrese Johnson, the operations manager of popular Bay Area rap blog Thizzler.com. “I think what they should’ve been doing is finding ways to cultivate the independent artists they already have there and finding ways to get them paid as opposed to trying to go to war with Spotify and Apple Music. It’s not their lane.”\u003c/p>\n\u003cp>Since the news broke about SoundCloud’s lack of funding, artists have been warning each other to back up their catalogues and upload them to other platforms such as YouTube. But \u003ca href=\"https://www.musicbusinessworldwide.com/google-mulling-soundcloud-buyout-say-whispers-sony-universals-stakes-revealed/\" target=\"_blank\" rel=\"noopener\">some industry insiders speculate\u003c/a> that it’s unlikely that SoundCloud will disappear off the web completely, anticipating a corporate buyout. In either case, the platform’s poor financial standing and declining listenership raises important questions about what will happen when the defining music platform of this decade loses its relevance.\u003c/p>\n\u003cp>“[Artists] need to take advantage of the changing market,” says Oakland rapper Beejus. “If you’re not putting yourself in a position where you’re able to own your rights where you can upload your music to streaming sites [like Spotify,] which I think will be the next step of this, then you need to reevaluate what you’re doing and kind of step it up.” \u003c/p>\n\u003cfigure id=\"attachment_13741653\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg\" alt=\"DJ Neto is among those who draw a parallel between SoundCloud and MySpace.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13741653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ Neto is among those who draw a parallel between SoundCloud and MySpace. \u003ccite>(Chris Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, other artists question what will happen to the myriad DIY music subcultures on SoundCloud if the platform fails to retain its listeners. Oakland DJ Albert Luera, aka DJ Neto, compares the SoundCloud phenomenon to what happened to MySpace in the late 2000s, when the social network lost most of its users after becoming flooded with ads. As a result, many of the music subcultures that flourished on MySpace — such as the “bloghouse” electronic scene adjacent to Steve Aoki’s Dim Mak Records or the Bay Area’s hyphy movement — faded into obscurity. \u003c/p>\n\u003cp>Luera described his recent experience of poring over obscure MySpace profiles to find old hyphy songs he remembered from a decade ago. “If the loss of MySpace is any indication about how the loss of SoundCloud is gonna go, it was impossible to find those songs in any sort of quality. It was like googling lyrics and trying to find some message board that was gonna have it,” he says, adding that he fears that much of the music on SoundCloud will similarly be lost. \u003c/p>\n\u003cp>Sela Oner, a Vallejo producer who once compiled several volumes of \u003ca href=\"http://pitchfork.com/thepitch/644-footworks-forgotten-archives-are-making-the-best-compilations-youve-never-heard/\" target=\"_blank\" rel=\"noopener\">forgotten 2000s Chicago footwork music by scouring the remains of MySpace\u003c/a>, says that the potential demise of SoundCloud might not be such a bad thing. In his view, some artists have gotten too stuck in the “SoundCloud rap” formula. “It’s affected music a lot, that’s why things sounds the same. So if SoundCloud dies, I think we kind of need that refresh.”\u003c/p>\n\u003cp>“Music is always changing, the way we consume media is always changing,” says Thizzler’s Tyrese Johnson. “If SoundCloud were to die today, it would suck, but it wouldn’t be the end.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\n","blocks":[],"excerpt":"The uncertain future of SoundCloud, the audio-hosting platform where many Bay Area artists have thrived, leaves musicians and performers worried.","status":"publish","parent":0,"modified":1705029934,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":18,"wordCount":1272},"headData":{"title":"SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists | KQED","description":"The uncertain future of SoundCloud, the audio-hosting platform where many Bay Area artists have thrived, leaves musicians and performers worried.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"SoundCloud’s Uncertain Forecast Strikes Worry for Bay Area Artists","datePublished":"2017-07-26T22:00:47.000Z","dateModified":"2024-01-12T03:25:34.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Nastia Voynovskaya","path":"/arts/13741259/bay-area-hip-hop-on-soundclouds-uncertain-future","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>According to a \u003ca href=\"https://techcrunch.com/2017/07/12/soundshroud/\" target=\"_blank\" rel=\"noopener\">recent TechCrunch report\u003c/a>, SoundCloud has only enough funding to last through the beginning of October. And while the official word from its PR team is that the popular streaming service is fully funded through the end of the fourth quarter, it’s evident that SoundCloud hasn’t been successful at creating a profitable business model. The Berlin-based company recently \u003ca href=\"https://ww2.kqed.org/arts/2017/07/06/soundcloud-cuts-173-jobs-shutters-san-francisco-and-london-offices/\" target=\"_blank\" rel=\"noopener\">laid off 40 percent of its staff and closed its London and San Francisco offices\u003c/a>, leaving users and staff doubting the platform’s longevity. \u003c/p>\n\u003cp>SoundCloud’s primary appeal lies in its 150 million-plus user-uploaded songs, DJ mixes, and podcasts otherwise unavailable on mainstream streaming services such as Spotify, Tidal, Pandora, and Apple Music. Whereas artists must pay digital distributors like \u003ca href=\"https://www.mondotunes.com/%20\" target=\"_blank\" rel=\"noopener\">MondoTunes (formerly TuneCore)\u003c/a> and \u003ca href=\"https://members.cdbaby.com/\" target=\"_blank\" rel=\"noopener\">CD Baby\u003c/a> to get their music onto these streaming giants, on SoundCloud, musicians upload their work for free. Songs on SoundCloud have the potential to go viral thanks to its repost feature — which works the same way retweets do on Twitter — making it possible for independent artists to attract audiences without record deals, publicists, or placements on popular playlists. \u003c/p>\n\u003cp>“SoundCloud was this phenomenon that allowed you to get discovered,” says Evangeline Elder, the manager of Richmond singer Rayana Jay. “That’s where a lot of curators were getting their insights from on who’s the next artist to possibly to blow up or who’s emerging.”\u003c/p>\n\u003cfigure id=\"attachment_12928309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg\" alt=\"\" width=\"800\" height=\"466\" class=\"size-medium wp-image-12928309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-800x466.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-160x93.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-768x447.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1020x594.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1920x1118.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-1180x687.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-960x559.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-240x140.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-375x218.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671-520x303.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Rayana-Jay-2017-3-by-Vanessa-Vigil-e1490033421671.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rayana Jay’s “Magic” accumulated a quarter-million listens in just two weeks on SoundCloud. \u003ccite>(Vanessa Vigil)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to SoundCloud’s social sharing functions, previously unheard-of artists from niche regional scenes, like Philadelphia’s Lil Uzi Vert and South Florida’s Kodak Black, have risen to mainstream fame. The term “\u003ca href=\"http://www.rollingstone.com/music/features/look-at-me-the-noisy-soundcloud-revolution-changing-rap-w485101\" target=\"_blank\" rel=\"noopener\">SoundCloud rap\u003c/a>” is now used — though, more often than not, in a derogatory or tongue-in-cheek way — to describe the alternative, youthful rap style that flourishes on the platform (a scene that, according to critics, has become derivative of the platform’s most successful songs).\u003c/p>\n\u003cp>“Now, if SoundCloud can’t recover after all these reports I’m seeing, it’s going to mean a lot for artists who don’t have infrastructure or a management team or publicists,” Elder continues, adding that viral hits on the app, like Xxxtentacion’s “Look At Me,” have made careers almost overnight. She fears that if this free, democratic platform were to lose its relevance because of corporate upheaval, “the freedom of being an independent artist without a plan [would be] taken away.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>SoundCloud has been hugely advantageous for local artists such as Oakland’s Kamaiyah, who quickly ascended to an Interscope deal and a collaboration with Drake off the strength of her self-released single, “\u003ca href=\"https://soundcloud.com/kamaiyah/how-does-it-feel-2\" target=\"_blank\" rel=\"noopener\">How Does It Feel\u003c/a>.” According to artists and industry insiders, the Bay Area is notorious for having an insular music scene that mainstream labels tend to overlook. The ability to use SoundCloud to bypass industry gatekeepers has been crucial for the Bay Area’s newest breakout stars. Elder recalls, for instance, how Rayana Jay, the singer she manages, received an outpouring of business opportunities after her song “Magic” accumulated 250,000 plays on SoundCloud in its first two weeks. \u003c/p>\n\u003cfigure id=\"attachment_13741654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg\" alt=\"East Bay artist Rexx Life Raj has benefitted from SoundCloud's viral opportunities.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13741654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/RexxLifeRaj.Marco_.Alexander.jpg 1100w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">East Bay artist Rexx Life Raj has benefitted from SoundCloud’s viral opportunities. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Berkeley rapper Rexx Life Raj had a similar experience when the website Hot New Hip-Hop reposted his song “Shit n’ Floss” on its SoundCloud page, catapulting it to over 734,000 streams. “It boosted the record in a crazy way,” he says. “It put it into a million people’s phones.”\u003c/p>\n\u003cp>Over the past several years, SoundCloud has struggled to monetize its business model, introducing ads and offering two tiers of ad-free subscriptions, SoundCloud Go and SoundCloud Go+. But according to the TechCrunch report that broke the news about the company’s recent layoffs, SoundCloud’s number of listeners is said to have fallen from 175 million to somewhere near 70 million over the past three years. \u003c/p>\n\u003cp>“Soundcloud made a mistake when it lost track of its strengths,” says Tyrese Johnson, the operations manager of popular Bay Area rap blog Thizzler.com. “I think what they should’ve been doing is finding ways to cultivate the independent artists they already have there and finding ways to get them paid as opposed to trying to go to war with Spotify and Apple Music. It’s not their lane.”\u003c/p>\n\u003cp>Since the news broke about SoundCloud’s lack of funding, artists have been warning each other to back up their catalogues and upload them to other platforms such as YouTube. But \u003ca href=\"https://www.musicbusinessworldwide.com/google-mulling-soundcloud-buyout-say-whispers-sony-universals-stakes-revealed/\" target=\"_blank\" rel=\"noopener\">some industry insiders speculate\u003c/a> that it’s unlikely that SoundCloud will disappear off the web completely, anticipating a corporate buyout. In either case, the platform’s poor financial standing and declining listenership raises important questions about what will happen when the defining music platform of this decade loses its relevance.\u003c/p>\n\u003cp>“[Artists] need to take advantage of the changing market,” says Oakland rapper Beejus. “If you’re not putting yourself in a position where you’re able to own your rights where you can upload your music to streaming sites [like Spotify,] which I think will be the next step of this, then you need to reevaluate what you’re doing and kind of step it up.” \u003c/p>\n\u003cfigure id=\"attachment_13741653\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg\" alt=\"DJ Neto is among those who draw a parallel between SoundCloud and MySpace.\" width=\"640\" height=\"640\" class=\"size-large wp-image-13741653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dj-neto-by-chris-sanchez.jpg 1080w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ Neto is among those who draw a parallel between SoundCloud and MySpace. \u003ccite>(Chris Sanchez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, other artists question what will happen to the myriad DIY music subcultures on SoundCloud if the platform fails to retain its listeners. Oakland DJ Albert Luera, aka DJ Neto, compares the SoundCloud phenomenon to what happened to MySpace in the late 2000s, when the social network lost most of its users after becoming flooded with ads. As a result, many of the music subcultures that flourished on MySpace — such as the “bloghouse” electronic scene adjacent to Steve Aoki’s Dim Mak Records or the Bay Area’s hyphy movement — faded into obscurity. \u003c/p>\n\u003cp>Luera described his recent experience of poring over obscure MySpace profiles to find old hyphy songs he remembered from a decade ago. “If the loss of MySpace is any indication about how the loss of SoundCloud is gonna go, it was impossible to find those songs in any sort of quality. It was like googling lyrics and trying to find some message board that was gonna have it,” he says, adding that he fears that much of the music on SoundCloud will similarly be lost. \u003c/p>\n\u003cp>Sela Oner, a Vallejo producer who once compiled several volumes of \u003ca href=\"http://pitchfork.com/thepitch/644-footworks-forgotten-archives-are-making-the-best-compilations-youve-never-heard/\" target=\"_blank\" rel=\"noopener\">forgotten 2000s Chicago footwork music by scouring the remains of MySpace\u003c/a>, says that the potential demise of SoundCloud might not be such a bad thing. In his view, some artists have gotten too stuck in the “SoundCloud rap” formula. “It’s affected music a lot, that’s why things sounds the same. So if SoundCloud dies, I think we kind of need that refresh.”\u003c/p>\n\u003cp>“Music is always changing, the way we consume media is always changing,” says Thizzler’s Tyrese Johnson. “If SoundCloud were to die today, it would suck, but it wouldn’t be the end.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\"> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13741259/bay-area-hip-hop-on-soundclouds-uncertain-future","authors":["byline_arts_13741259"],"categories":["arts_69","arts_235"],"tags":["arts_1118","arts_831","arts_596","arts_1723","arts_1983"],"featImg":"arts_13747576","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.","airtime":"MON-FRI 1pm-2pm, 4:30pm-6:30pm\u003cbr />SAT-SUN 5pm-6pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/All-Things-Considered-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.npr.org/programs/all-things-considered/","meta":{"site":"news","source":"npr"},"link":"/radio/program/all-things-considered"},"american-suburb-podcast":{"id":"american-suburb-podcast","title":"American Suburb: The Podcast","tagline":"The flip side of gentrification, told through one town","info":"Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/American-Suburb-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/news/series/american-suburb-podcast","meta":{"site":"news","source":"kqed","order":"13"},"link":"/news/series/american-suburb-podcast/","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328","tuneIn":"https://tunein.com/radio/American-Suburb-p1086805/","rss":"https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"}},"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.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"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","officialWebsiteLink":"https://www.commonwealthclub.org/podcasts","meta":{"site":"news","source":"Commonwealth Club of California"},"link":"/radio/program/commonwealth-club","subscribe":{"apple":"https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2","google":"https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw","tuneIn":"https://tunein.com/radio/Commonwealth-Club-of-California-p1060/"}},"considerthis":{"id":"considerthis","title":"Consider This","tagline":"Make sense of the day","info":"Make sense of the day. Every weekday afternoon, Consider This helps you consider the major stories of the day in less than 15 minutes, featuring the reporting and storytelling resources of NPR. 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