Hidden in the Oakland Hills Is An Outdoor Gallery of Murals
'California Love': New Podcast Explores Growing Up Both Black and Brown in LA
Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute
San Francisco Takes on Justin Bieber Over Sidewalk Graffiti
Oakland Struggles to Keep Pace With Changing Graffiti Culture
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Devin has also received numerous local awards from the Associated Press and the Society of Professional Journalists.","avatar":"https://secure.gravatar.com/avatar/d0d2978a31002fb2de107921a8e18405?s=600&d=blank&r=g","twitter":"RadioDevin","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["author"]},{"site":"stateofhealth","roles":["author"]},{"site":"forum","roles":["editor"]},{"site":"perspectives","roles":["editor"]}],"headData":{"title":"Devin Katayama | KQED","description":"Editor of Talent and Development","ogImgSrc":"https://secure.gravatar.com/avatar/d0d2978a31002fb2de107921a8e18405?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/d0d2978a31002fb2de107921a8e18405?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/dkatayama"},"amarkowitz":{"type":"authors","id":"11660","meta":{"index":"authors_1591205172","id":"11660","found":true},"name":"Ariella Markowitz","firstName":"Ariella","lastName":"Markowitz","slug":"amarkowitz","email":"amarkowitz@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Ariella is a former intern for the California Report Magazine. Before that, she helped mobilize freelance journalists with Association of Independents in Radio (AIR) and made radio features for KALW. Ariella loves investigative reporting, personal stories that interrogate power, and spicy vegan cooking.","avatar":"https://secure.gravatar.com/avatar/a49317e9a9fc1762b408b2ca90b38a13?s=600&d=blank&r=g","twitter":"ariellaudio","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"news","roles":["subscriber"]},{"site":"forum","roles":["editor"]},{"site":"perspectives","roles":["administrator"]}],"headData":{"title":"Ariella Markowitz | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/a49317e9a9fc1762b408b2ca90b38a13?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/a49317e9a9fc1762b408b2ca90b38a13?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/amarkowitz"}},"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_11977305":{"type":"posts","id":"news_11977305","meta":{"index":"posts_1591205157","site":"news","id":"11977305","score":null,"sort":[1709204416000]},"guestAuthors":[],"slug":"hidden-in-the-oakland-hills-is-an-outdoor-gallery-of-murals","title":"Hidden in the Oakland Hills Is An Outdoor Gallery of Murals","publishDate":1709204416,"format":"image","headTitle":"Hidden in the Oakland Hills Is An Outdoor Gallery of Murals | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The East Bay hills above Berkeley and Oakland are crisscrossed with beautiful hiking trails, and hidden along them are clues to the Bay Area’s past. In the trees near Leona Heights, there’s a clearing scattered with concrete walls. One of them is as big as a bus; others are small, like traffic barriers. All of them are painted with really good murals.\u003c/p>\n\u003cp>Bay Curious listener Darrell Lavin came across them while hiking with his cousin.\u003c/p>\n\u003cp>[baycuriousbug]\u003c/p>\n\u003cp>“It looks like it was some sort of a very significant structure many, many years ago,” he said. “And I can’t help but wonder, what’s the history of this? What was there, and what was it used for? It made me very curious.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It turns out that the answer to Lavin’s question has a lot to do with… rocks. So, we asked a geologist.\u003c/p>\n\u003cp>Andrew Alden is a sprightly guy with a ponytail and gemstone earrings. He said in the late 1800s, when Bay Area cities were growing, people punctured the East Bay hills with quarries and mines.\u003c/p>\n\u003cp>“Crushed stone is a basic requirement of civilization,” he said. “You just need it for everything. You need it for railroad beds, you need it for building foundations, you need it to build harbors and wharves.”\u003c/p>\n\u003cp>The concrete walls still visible today \u003ca href=\"https://ia801601.us.archive.org/9/items/38calicturalindu00auburich/38calicturalindu00auburich.pdf\">were part of the workings of the Leona Heights Quarry\u003c/a>, he said, which was where Merritt College is today. Workers blasted rock from deep pits in the hills and loaded it onto a conveyor tram, which carried it down the hill to a train, where it was loaded onto freight cars and shipped out.\u003c/p>\n\u003cfigure id=\"attachment_11977321\" class=\"wp-caption aligncenter\" style=\"max-width: 1980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram.jpg\" alt=\"Black and white photo of a wooden trestle conveyor tram snaking its way up a wooded hill.\" width=\"1980\" height=\"1807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram.jpg 1980w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-800x730.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-1020x931.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-1536x1402.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-1920x1752.jpg 1920w\" sizes=\"(max-width: 1980px) 100vw, 1980px\">\u003cfigcaption class=\"wp-caption-text\">This photograph from 1912 shows a tram that brought stone from the quarry down to the train tracks.\u003c/figcaption>\u003c/figure>\n\u003cp>The tram was a half-mile-long conveyor belt running on a wooden trestle. Historical records suggest its machinery was housed in the concrete ruins Lavin asked about. Slots in the walls probably framed the wheels that turned the belt.\u003c/p>\n\u003ch3>A fateful fire\u003c/h3>\n\u003cp>The tram helped make the whole rock quarry operation possible but would ultimately destroy it. In 1913, a fire broke out near its base and ignited the conveyor belt, which carried the flames up the hill. \u003ca href=\"https://www.newspapers.com/image/999259004/\">An article in the Oakland Enquirer from Aug. 8th\u003c/a>, 1913, said the wooden trestle was “dry as tinder.”\u003c/p>\n\u003cp>“Stores of dynamite and powder in sheds in the path of the fire spread the blaze with great rapidity,” the article said. “Until long after midnight, the fire burned in the ravines of Leona Heights, to which blazing brands had been carried by the high wind. That no fatalities occurred was considered remarkable.”\u003c/p>\n\u003cp>All the buildings and tools used in the quarry operation were incinerated.\u003c/p>\n\u003cp>Today, all that remains of the Leona Heights Quarry are the ruins of the conveyor tram that Darrell stumbled upon.\u003c/p>\n\u003cp>“The artists have adopted it,” Alden said. “And it belongs to the future as well as the past.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3388391131&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>An unexpected art gallery\u003c/h3>\n\u003cp>The concrete walls have been painted over many times by many artists. One of them is Pancho Pescador. He said he found this place by accident back in 1995 — not long after he moved to the United States — and was captivated by the murals.\u003c/p>\n\u003cfigure id=\"attachment_11977322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead.jpg\" alt=\"A man in black hoodie stands center, around him are remnants of concrete walls painted with vibrant art.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Pancho Pescador stands between two of his pieces painted on the concrete ruins of the old Leona Heights Quarry. \u003ccite>(Katherine Monahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graffiti art was still pretty new to Pescador at the time. He’d seen very little of it growing up in Chile \u003ca href=\"https://www.britannica.com/place/Chile/The-military-dictatorship-from-1973\">under the repressive dictatorship of Augusto Pinochet\u003c/a>.\u003c/p>\n\u003cp>“If you [got] caught painting in the street,” he said, “you may get disappeared or dead.”\u003c/p>\n\u003cp>For many street artists of the day, only urgent political messages were worth that risk, Pescador said. His work reflects the intensity of those early experiences. He pointed out one of his murals: a figure with the head of a bird carrying a paint roller.\u003c/p>\n\u003cp>“That’s the weapon,” Pescador said. “He’s a warrior because he’s carrying his weapon.”\u003c/p>\n\u003cp>The biggest concrete wall in the clearing is about the size of a semitruck. On it, artists have painted a woman, an AC Transit bus and the word “Ghost” in vibrant colors. It’s a memorial to a local artist who passed away at a young age, Pescador explained.\u003c/p>\n\u003cp>“This is not going anywhere,” he said. “I doubt anybody’s going to paint over this. I’m not gonna do it.”\u003c/p>\n\u003cp>For him, these concrete ruins are a special place, different from any other graffiti site. He loves painting up in the trees, with time to do big, intricate pieces with lots of colors.\u003c/p>\n\u003cp>“I like decay,” he said. “And I like seeing my pieces getting old.”\u003c/p>\n\u003cp>[baycuriousquestion]\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>The East Bay hills above Berkeley and Oakland are crisscrossed with beautiful hiking trails. Darrell Lavin, today’s question-asker, loves to explore them.\u003c/p>\n\u003cp>\u003cb>Darrell Lavin:\u003c/b> My cousin lives right over in that area right near Leona Lodge. And so I go over there and hike with her all the time.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>One day, they tried a trail he’d never been on before. Halfway up they came upon something unexpected.\u003c/p>\n\u003cp>\u003cb>Darrell Lavin:\u003c/b> It looks like it was some sort of a very significant structure many, many years ago. And it looks like there had to be some sort of a cabling system there to haul stuff up and down the hill.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Darrell figured his cousin would know what these ruins were, but she had no idea.\u003c/p>\n\u003cp>\u003cb>Darrell Lavin:\u003c/b> And they’re all covered in graffiti. And the artwork is beautiful. And I can’t help but wonder, what’s the history of this, what was there and what was it used for?\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Darrell’s question won a Bay Curious voting round, so today we’re hiking up to these ruins near Leona Canyon Regional Park… to learn what was there more than a hundred years ago. And we’ll find out a bit more about that beautiful artwork that Darrell described. I’m Olivia Allen-Price. Stay with us.\u003c/p>\n\u003cp>SPONSOR MESSAGE\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>KQED Reporter Katherine Monahan loves hiking and mysteries, so she was the perfect person to send on an expedition to find out the history of these ruins in the Oakland hills and how they’re being used now.\u003c/p>\n\u003cp>\u003ci>Footsteps in the woods\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> I’ve been hiking around for half an hour, looking for these ruins, when I see a flash of bright pink peeking through the oak trees that line the trail. I duck under a branch . . . and enter a clearing scattered with concrete walls. One of them is as big as a bus; others are small, like traffic barriers. All of them are painted with \u003ci>really good\u003c/i> murals.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>And they built it well because the concrete is still in great shape.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Andrew Alden, a geologist and local historian, meets me here. He’s a sprightly guy with a ponytail and gemstone earrings. He points out a clue to why these ruins are here. It’s a reddish rock, about the size of a mailbox.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>I think it’s just beautiful by itself.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> What is it?\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>It started out as volcanic ash on the seafloor. It got involved in a lot of tectonic action, and it changed the rock into this very hard light-colored, very strong material that gets this honey-colored orange and red coating on it.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>Geologists used to call it the Leona laterite. Now we just call it Leona Volcanic.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Alden says that in the late 1800s, when Bay Area cities were growing, rock like this was very much in demand.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>Crushed stone is a basic requirement of civilization. You just need it for everything. You need it for railroad beds, you need it for building foundations, you need it to build harbors and wharves.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> People punctured the East Bay hills with mines and quarries, looking for pyrite, sulfur, gold, though they didn’t really find any, and just rock.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>They started quarries wherever the rock was good just to make money from these hills.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> The ruins we’re looking at were part of the workings of the Leona Heights Quarry, says Alden, which was where Merritt College is today. Workers dynamited rock from pits and loaded it onto a conveyor tram leading down the hill.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>It would send stone down to the electric train tracks.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> It was a half-mile-long conveyor belt running on a wooden trestle. It looked kind of like an old-fashioned roller coaster. Historical records suggest its machinery was housed right here in this concrete. Slots in the walls probably framed the wheels that turned the belt.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> This tram helped make the whole operation possible but would ultimately destroy it.\u003c/p>\n\u003cp>\u003cb>Voice Reading Newspaper Report: \u003c/b>Oakland Enquirer, Aug. 8th, 1913 — Leona Fire Causes Big Loss, Town Is Menaced.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> A fire broke out near the base of the tram and ignited the conveyor belt, which carried the flames up the hill. The newspaper said the wooden trestle was “dry as tinder.”\u003c/p>\n\u003cp>\u003cb>Voice Reading Newspaper Report: \u003c/b>Stores of dynamite and powder in sheds in the path of the fire spread the blaze with great rapidity. Until long after midnight the fires burned in the ravines of Leona Heights, to which blazing brands had been carried by the high wind. That no fatalities occurred was considered remarkable.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> All the buildings and tools were incinerated, a quarter million dollar loss and a huge blow to the quarry. By the 1930s, it showed up in the papers mainly as a place where convicts hid out or kids got lost. Here’s Andrew Alden again.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>Cheaper stone arose out of town, you know, quarries and cities can’t really coexist. Oakland has spread out.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Eventually, the quarry was filled in and is now a Merritt College parking lot.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>There used to be a great big pit there they called Devil’s Punchbowl and all the local kids would get in trouble there. They’d push old cars into it and throw dynamite sticks and that kind of thing.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> And what’s left of the conveyor tram …\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>As you see, the artists have adopted it. And it belongs to the future as well as the past.\u003c/p>\n\u003cp>\u003ci>Modern music transition\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> The concrete walls here have been painted over many times by many artists. One of them has been coming here for almost thirty years.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>My name is Pancho Pescador. I’m originally from Chile. I always painted since I was a kid.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> He says he found this place by accident back in 1995, not long after he moved to the United States. He was out hiking by himself.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>And I remember coming here and seeing the wall. Unexpected, because you’re in the middle of the forest and then you find all these ruins.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> They had murals on them even then.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>I was like, “What? Who paint this? This is so cool. Oh, he did it with spray paint?”\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Graffiti art was still pretty new to Pescador at the time. He’d seen very little of it growing up in Chile.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>Because we have a dictatorship, so it was more repression. You know, if you get caught painting in the street, you may get disappeared or, or dead.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> That was during the regime of Augusto Pinochet, who came to power in 1973 following a U.S.-backed coup. Through the 70s and 80s, thousands of Chileans disappeared or were killed under his rule, and almost 40,000 were held as political prisoners. Pescador says street artists of the day restricted themselves to political messages.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>They didn’t write their name, you know, like, “Oh, Pancho was here” or, you know, like, they’re risking their life.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> He shows me one of his pieces, a larger-than-life self-portrait, on a decaying chunk of concrete wall. It’s a figure with the head of a bird carrying a paint roller.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>That’s the weapon. You know, like, the weapon doesn’t have to be an M16. It could be a paint roller, so he’s a warrior because he’s carrying his weapon.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> The painting has been here for about two years, which Pescador says is a long life for a piece up here.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>You paint here, you know that you’re gonna get covered. That’s part of the game. It’s no crying, like, “Oh, you paint over me?” No, this is not the place, you know, you paint here, you know what’s going to happen.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> But there are exceptions. On the biggest wall — which is about the size of a semitruck — is a long, vibrant painting of a woman, and an AC Transit bus, and the word “Ghost.” Pescador explains it’s a memorial.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>A tribute to Ghost which was a writer from Oakland that unfortunately passed at a very young age, and some of her friends and homies did this piece to honor her.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> He says this piece will last because artists won’t normally cover up a memorial.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>This is not going anywhere. I doubt anybody’s going to paint over this. I’m not gonna do it.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> He says this is a special place, different from your average graffiti site. Up here in the trees, you have time to do big, intricate pieces with lots of colors. It’s not like painting downtown, where you might get caught. And the hike screens out a lot of artists.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>You gotta be in shape. Because you’re gonna carry your backpack full of paint, probably a couple gallons of paint, roller, all the tools, water, it gets heavy. So you know, like, you need a certain special energy to do it.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Pescador says he loves painting up in these abandoned ruins.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>I like decay. And I like seeing my pieces getting old. I find beauty on that, a place that could be dark. And you know when you paint it, you change the energy. You do all the work for that, you know, like you see the place change, and it’s like, “Oh, yeah!” and then people appreciate it, you know?\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Through over a century of massive change around it, this place has adapted from rock quarry to outdoor art gallery. Who knows what it may become next or what it will see in the next century?\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>That was KQED’s Katherine Monahan. Thanks to Darrell Lavin for asking the question we answered today.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>This Saturday, March 2 is one of my favorite events of the year. It’s the \u003ca href=\"https://www.kqed.org/event/3954\">Night of Ideas at San Francisco Public Library’s Main Branch\u003c/a>. If you haven’t been … know this: it’s a mashup of artists, leading thinkers and cultural organizations all thinking about the future — and how city life can be more just, culturally vibrant, and sustainable. Bay Curious will be there this year, hanging out in the bookmobile. Stop by to share your personal transit tales with us and the podcast Muni Diaries. We’re teaming up to collect your stories and I can’t wait to hear what you might have for us. Find details and register for free at \u003ca href=\"https://www.kqed.org/events\">KQED.org/Live\u003c/a>. I’ll see you there.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>If you enjoy Bay Curious, tell another podcast-loving friend all about us, please! Word of mouth is one of the best ways for us to grow the show. Thank you!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Bay Curious is made by Katrina Schwartz, Christopher Beale, and me, Olivia-Allen Price. Additional support from Alex Gonzalez, Dan Brekke, Jen Chien, Katie Sprenger, Cesar Saldana, Maha Sanad, Holly Kernan and the whole KQED Family. Have a great week!\u003c/p>\n\n","blocks":[],"excerpt":"Hike near Leona Heights in Oakland, and you might come across vibrant graffiti art painted on the concrete remnants of an old conveyor tram that transported rock down the hill.","status":"publish","parent":0,"modified":1709154197,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":true,"hasPolis":false,"paragraphCount":90,"wordCount":2844},"headData":{"title":"Hidden in the Oakland Hills Is An Outdoor Gallery of Murals | KQED","description":"Hike near Leona Heights in Oakland, and you might come across vibrant graffiti art painted on the concrete remnants of an old conveyor tram that transported rock down the hill.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"Bay Curious","sourceUrl":"https://www.kqed.org/podcasts/baycurious/","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/pdst.fm/e/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC3388391131.mp3?updated=1709154362","sticky":false,"nprByline":"Katherine Monahan","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/news/11977305/hidden-in-the-oakland-hills-is-an-outdoor-gallery-of-murals","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003ca href=\"#episode-transcript\">View the full episode transcript.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>The East Bay hills above Berkeley and Oakland are crisscrossed with beautiful hiking trails, and hidden along them are clues to the Bay Area’s past. In the trees near Leona Heights, there’s a clearing scattered with concrete walls. One of them is as big as a bus; others are small, like traffic barriers. All of them are painted with really good murals.\u003c/p>\n\u003cp>Bay Curious listener Darrell Lavin came across them while hiking with his cousin.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003caside class=\"alignleft utils-parseShortcode-shortcodes-__bayCuriousPodcastShortcode__bayCurious\">\u003cimg src=https://cdn.kqed.org/wp-content/uploads/2023/02/bayCuriousLogo.png alt=\"Bay Curious Podcast\" />\n What do you wonder about the Bay Area, its culture or people that you want KQED to investigate?\n \u003ca href=\"/news/series/baycurious\">Ask Bay Curious.\u003c/a>\u003c/aside>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It looks like it was some sort of a very significant structure many, many years ago,” he said. “And I can’t help but wonder, what’s the history of this? What was there, and what was it used for? It made me very curious.”\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>It turns out that the answer to Lavin’s question has a lot to do with… rocks. So, we asked a geologist.\u003c/p>\n\u003cp>Andrew Alden is a sprightly guy with a ponytail and gemstone earrings. He said in the late 1800s, when Bay Area cities were growing, people punctured the East Bay hills with quarries and mines.\u003c/p>\n\u003cp>“Crushed stone is a basic requirement of civilization,” he said. “You just need it for everything. You need it for railroad beds, you need it for building foundations, you need it to build harbors and wharves.”\u003c/p>\n\u003cp>The concrete walls still visible today \u003ca href=\"https://ia801601.us.archive.org/9/items/38calicturalindu00auburich/38calicturalindu00auburich.pdf\">were part of the workings of the Leona Heights Quarry\u003c/a>, he said, which was where Merritt College is today. Workers blasted rock from deep pits in the hills and loaded it onto a conveyor tram, which carried it down the hill to a train, where it was loaded onto freight cars and shipped out.\u003c/p>\n\u003cfigure id=\"attachment_11977321\" class=\"wp-caption aligncenter\" style=\"max-width: 1980px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977321\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram.jpg\" alt=\"Black and white photo of a wooden trestle conveyor tram snaking its way up a wooded hill.\" width=\"1980\" height=\"1807\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram.jpg 1980w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-800x730.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-1020x931.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-160x146.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-1536x1402.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Conveyor-tram-1920x1752.jpg 1920w\" sizes=\"(max-width: 1980px) 100vw, 1980px\">\u003cfigcaption class=\"wp-caption-text\">This photograph from 1912 shows a tram that brought stone from the quarry down to the train tracks.\u003c/figcaption>\u003c/figure>\n\u003cp>The tram was a half-mile-long conveyor belt running on a wooden trestle. Historical records suggest its machinery was housed in the concrete ruins Lavin asked about. Slots in the walls probably framed the wheels that turned the belt.\u003c/p>\n\u003ch3>A fateful fire\u003c/h3>\n\u003cp>The tram helped make the whole rock quarry operation possible but would ultimately destroy it. In 1913, a fire broke out near its base and ignited the conveyor belt, which carried the flames up the hill. \u003ca href=\"https://www.newspapers.com/image/999259004/\">An article in the Oakland Enquirer from Aug. 8th\u003c/a>, 1913, said the wooden trestle was “dry as tinder.”\u003c/p>\n\u003cp>“Stores of dynamite and powder in sheds in the path of the fire spread the blaze with great rapidity,” the article said. “Until long after midnight, the fire burned in the ravines of Leona Heights, to which blazing brands had been carried by the high wind. That no fatalities occurred was considered remarkable.”\u003c/p>\n\u003cp>All the buildings and tools used in the quarry operation were incinerated.\u003c/p>\n\u003cp>Today, all that remains of the Leona Heights Quarry are the ruins of the conveyor tram that Darrell stumbled upon.\u003c/p>\n\u003cp>“The artists have adopted it,” Alden said. “And it belongs to the future as well as the past.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC3388391131&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch3>An unexpected art gallery\u003c/h3>\n\u003cp>The concrete walls have been painted over many times by many artists. One of them is Pancho Pescador. He said he found this place by accident back in 1995 — not long after he moved to the United States — and was captivated by the murals.\u003c/p>\n\u003cfigure id=\"attachment_11977322\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11977322\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead.jpg\" alt=\"A man in black hoodie stands center, around him are remnants of concrete walls painted with vibrant art.\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2024/02/Oakland-Leona-Heights-ruins-lead-1536x864.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Pancho Pescador stands between two of his pieces painted on the concrete ruins of the old Leona Heights Quarry. \u003ccite>(Katherine Monahan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graffiti art was still pretty new to Pescador at the time. He’d seen very little of it growing up in Chile \u003ca href=\"https://www.britannica.com/place/Chile/The-military-dictatorship-from-1973\">under the repressive dictatorship of Augusto Pinochet\u003c/a>.\u003c/p>\n\u003cp>“If you [got] caught painting in the street,” he said, “you may get disappeared or dead.”\u003c/p>\n\u003cp>For many street artists of the day, only urgent political messages were worth that risk, Pescador said. His work reflects the intensity of those early experiences. He pointed out one of his murals: a figure with the head of a bird carrying a paint roller.\u003c/p>\n\u003cp>“That’s the weapon,” Pescador said. “He’s a warrior because he’s carrying his weapon.”\u003c/p>\n\u003cp>The biggest concrete wall in the clearing is about the size of a semitruck. On it, artists have painted a woman, an AC Transit bus and the word “Ghost” in vibrant colors. It’s a memorial to a local artist who passed away at a young age, Pescador explained.\u003c/p>\n\u003cp>“This is not going anywhere,” he said. “I doubt anybody’s going to paint over this. I’m not gonna do it.”\u003c/p>\n\u003cp>For him, these concrete ruins are a special place, different from any other graffiti site. He loves painting up in the trees, with time to do big, intricate pieces with lots of colors.\u003c/p>\n\u003cp>“I like decay,” he said. “And I like seeing my pieces getting old.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"baycuriousquestion","attributes":{"named":{"label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2 id=\"episode-transcript\">Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>The East Bay hills above Berkeley and Oakland are crisscrossed with beautiful hiking trails. Darrell Lavin, today’s question-asker, loves to explore them.\u003c/p>\n\u003cp>\u003cb>Darrell Lavin:\u003c/b> My cousin lives right over in that area right near Leona Lodge. And so I go over there and hike with her all the time.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>One day, they tried a trail he’d never been on before. Halfway up they came upon something unexpected.\u003c/p>\n\u003cp>\u003cb>Darrell Lavin:\u003c/b> It looks like it was some sort of a very significant structure many, many years ago. And it looks like there had to be some sort of a cabling system there to haul stuff up and down the hill.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Darrell figured his cousin would know what these ruins were, but she had no idea.\u003c/p>\n\u003cp>\u003cb>Darrell Lavin:\u003c/b> And they’re all covered in graffiti. And the artwork is beautiful. And I can’t help but wonder, what’s the history of this, what was there and what was it used for?\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>Darrell’s question won a Bay Curious voting round, so today we’re hiking up to these ruins near Leona Canyon Regional Park… to learn what was there more than a hundred years ago. And we’ll find out a bit more about that beautiful artwork that Darrell described. I’m Olivia Allen-Price. Stay with us.\u003c/p>\n\u003cp>SPONSOR MESSAGE\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>KQED Reporter Katherine Monahan loves hiking and mysteries, so she was the perfect person to send on an expedition to find out the history of these ruins in the Oakland hills and how they’re being used now.\u003c/p>\n\u003cp>\u003ci>Footsteps in the woods\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> I’ve been hiking around for half an hour, looking for these ruins, when I see a flash of bright pink peeking through the oak trees that line the trail. I duck under a branch . . . and enter a clearing scattered with concrete walls. One of them is as big as a bus; others are small, like traffic barriers. All of them are painted with \u003ci>really good\u003c/i> murals.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>And they built it well because the concrete is still in great shape.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Andrew Alden, a geologist and local historian, meets me here. He’s a sprightly guy with a ponytail and gemstone earrings. He points out a clue to why these ruins are here. It’s a reddish rock, about the size of a mailbox.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>I think it’s just beautiful by itself.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> What is it?\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>It started out as volcanic ash on the seafloor. It got involved in a lot of tectonic action, and it changed the rock into this very hard light-colored, very strong material that gets this honey-colored orange and red coating on it.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>Geologists used to call it the Leona laterite. Now we just call it Leona Volcanic.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Alden says that in the late 1800s, when Bay Area cities were growing, rock like this was very much in demand.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>Crushed stone is a basic requirement of civilization. You just need it for everything. You need it for railroad beds, you need it for building foundations, you need it to build harbors and wharves.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> People punctured the East Bay hills with mines and quarries, looking for pyrite, sulfur, gold, though they didn’t really find any, and just rock.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>They started quarries wherever the rock was good just to make money from these hills.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> The ruins we’re looking at were part of the workings of the Leona Heights Quarry, says Alden, which was where Merritt College is today. Workers dynamited rock from pits and loaded it onto a conveyor tram leading down the hill.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>It would send stone down to the electric train tracks.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> It was a half-mile-long conveyor belt running on a wooden trestle. It looked kind of like an old-fashioned roller coaster. Historical records suggest its machinery was housed right here in this concrete. Slots in the walls probably framed the wheels that turned the belt.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> This tram helped make the whole operation possible but would ultimately destroy it.\u003c/p>\n\u003cp>\u003cb>Voice Reading Newspaper Report: \u003c/b>Oakland Enquirer, Aug. 8th, 1913 — Leona Fire Causes Big Loss, Town Is Menaced.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> A fire broke out near the base of the tram and ignited the conveyor belt, which carried the flames up the hill. The newspaper said the wooden trestle was “dry as tinder.”\u003c/p>\n\u003cp>\u003cb>Voice Reading Newspaper Report: \u003c/b>Stores of dynamite and powder in sheds in the path of the fire spread the blaze with great rapidity. Until long after midnight the fires burned in the ravines of Leona Heights, to which blazing brands had been carried by the high wind. That no fatalities occurred was considered remarkable.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> All the buildings and tools were incinerated, a quarter million dollar loss and a huge blow to the quarry. By the 1930s, it showed up in the papers mainly as a place where convicts hid out or kids got lost. Here’s Andrew Alden again.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>Cheaper stone arose out of town, you know, quarries and cities can’t really coexist. Oakland has spread out.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Eventually, the quarry was filled in and is now a Merritt College parking lot.\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>There used to be a great big pit there they called Devil’s Punchbowl and all the local kids would get in trouble there. They’d push old cars into it and throw dynamite sticks and that kind of thing.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> And what’s left of the conveyor tram …\u003c/p>\n\u003cp>\u003cb>Andrew Alden: \u003c/b>As you see, the artists have adopted it. And it belongs to the future as well as the past.\u003c/p>\n\u003cp>\u003ci>Modern music transition\u003c/i>\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> The concrete walls here have been painted over many times by many artists. One of them has been coming here for almost thirty years.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>My name is Pancho Pescador. I’m originally from Chile. I always painted since I was a kid.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> He says he found this place by accident back in 1995, not long after he moved to the United States. He was out hiking by himself.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>And I remember coming here and seeing the wall. Unexpected, because you’re in the middle of the forest and then you find all these ruins.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> They had murals on them even then.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>I was like, “What? Who paint this? This is so cool. Oh, he did it with spray paint?”\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Graffiti art was still pretty new to Pescador at the time. He’d seen very little of it growing up in Chile.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>Because we have a dictatorship, so it was more repression. You know, if you get caught painting in the street, you may get disappeared or, or dead.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> That was during the regime of Augusto Pinochet, who came to power in 1973 following a U.S.-backed coup. Through the 70s and 80s, thousands of Chileans disappeared or were killed under his rule, and almost 40,000 were held as political prisoners. Pescador says street artists of the day restricted themselves to political messages.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>They didn’t write their name, you know, like, “Oh, Pancho was here” or, you know, like, they’re risking their life.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> He shows me one of his pieces, a larger-than-life self-portrait, on a decaying chunk of concrete wall. It’s a figure with the head of a bird carrying a paint roller.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>That’s the weapon. You know, like, the weapon doesn’t have to be an M16. It could be a paint roller, so he’s a warrior because he’s carrying his weapon.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> The painting has been here for about two years, which Pescador says is a long life for a piece up here.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>You paint here, you know that you’re gonna get covered. That’s part of the game. It’s no crying, like, “Oh, you paint over me?” No, this is not the place, you know, you paint here, you know what’s going to happen.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> But there are exceptions. On the biggest wall — which is about the size of a semitruck — is a long, vibrant painting of a woman, and an AC Transit bus, and the word “Ghost.” Pescador explains it’s a memorial.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>A tribute to Ghost which was a writer from Oakland that unfortunately passed at a very young age, and some of her friends and homies did this piece to honor her.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> He says this piece will last because artists won’t normally cover up a memorial.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>This is not going anywhere. I doubt anybody’s going to paint over this. I’m not gonna do it.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> He says this is a special place, different from your average graffiti site. Up here in the trees, you have time to do big, intricate pieces with lots of colors. It’s not like painting downtown, where you might get caught. And the hike screens out a lot of artists.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>You gotta be in shape. Because you’re gonna carry your backpack full of paint, probably a couple gallons of paint, roller, all the tools, water, it gets heavy. So you know, like, you need a certain special energy to do it.\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Pescador says he loves painting up in these abandoned ruins.\u003c/p>\n\u003cp>\u003cb>Pancho Pescador: \u003c/b>I like decay. And I like seeing my pieces getting old. I find beauty on that, a place that could be dark. And you know when you paint it, you change the energy. You do all the work for that, you know, like you see the place change, and it’s like, “Oh, yeah!” and then people appreciate it, you know?\u003c/p>\n\u003cp>\u003cb>Katherine Monahan:\u003c/b> Through over a century of massive change around it, this place has adapted from rock quarry to outdoor art gallery. Who knows what it may become next or what it will see in the next century?\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>That was KQED’s Katherine Monahan. Thanks to Darrell Lavin for asking the question we answered today.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>This Saturday, March 2 is one of my favorite events of the year. It’s the \u003ca href=\"https://www.kqed.org/event/3954\">Night of Ideas at San Francisco Public Library’s Main Branch\u003c/a>. If you haven’t been … know this: it’s a mashup of artists, leading thinkers and cultural organizations all thinking about the future — and how city life can be more just, culturally vibrant, and sustainable. Bay Curious will be there this year, hanging out in the bookmobile. Stop by to share your personal transit tales with us and the podcast Muni Diaries. We’re teaming up to collect your stories and I can’t wait to hear what you might have for us. Find details and register for free at \u003ca href=\"https://www.kqed.org/events\">KQED.org/Live\u003c/a>. I’ll see you there.\u003c/p>\n\u003cp>\u003cb>Olivia Allen-Price: \u003c/b>If you enjoy Bay Curious, tell another podcast-loving friend all about us, please! Word of mouth is one of the best ways for us to grow the show. Thank you!\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>\u003cb>Olivia Allen-Price: \u003c/b>Bay Curious is made by Katrina Schwartz, Christopher Beale, and me, Olivia-Allen Price. Additional support from Alex Gonzalez, Dan Brekke, Jen Chien, Katie Sprenger, Cesar Saldana, Maha Sanad, Holly Kernan and the whole KQED Family. Have a great week!\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11977305/hidden-in-the-oakland-hills-is-an-outdoor-gallery-of-murals","authors":["byline_news_11977305"],"programs":["news_33523"],"series":["news_17986"],"categories":["news_223","news_8"],"tags":["news_18294","news_18","news_21681","news_2266"],"featImg":"news_11977328","label":"source_news_11977305"},"news_11833248":{"type":"posts","id":"news_11833248","meta":{"index":"posts_1591205157","site":"news","id":"11833248","score":null,"sort":[1597449197000]},"guestAuthors":[],"slug":"california-love-new-podcast-explores-growing-up-both-black-and-brown-in-la","title":"'California Love': New Podcast Explores Growing Up Both Black and Brown in LA","publishDate":1597449197,"format":"audio","headTitle":"The California Report Magazine | KQED News","labelTerm":{"term":26731,"site":"news"},"content":"\u003cp>“\u003ca href=\"https://laist.com/podcasts/california-love.php\">California Love\u003c/a>,” a new podcast released last month by \u003ca href=\"https://www.laiststudios.com/\">LAist Studios\u003c/a>, is an audio memoir from writer Walter Thompson-Hernández about growing up in Los Angeles — and coming back. He left L.A. and became a New York Times writer, traveling the world, writing about race, identity and belonging. Thompson-Hernández joined \u003ca href=\"https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">The California Report Magazine\u003c/a> host Sasha Khokha from his home in Los Angeles to talk about this \"love letter\" to L.A.\u003c/p>\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kca8Bjj7MQo\u003c/p>\n\u003ch2>\u003cstrong>On L.A. as a Lens to Explore Belonging\u003c/strong>\u003c/h2>\n\u003cp>I've always asked questions about what it means to belong. As a child of a Black father and a Mexican mother, I’ve been in this space where I have questions about identity. I have questions about race, questions about the environments I grew up in. As a \u003ca href=\"http://www.wthdz.com/\">New York Times writer\u003c/a>, I was really interested in asking people who belong to different subcultures similar questions, asking people what it means to both belong and not belong. But eventually, I had this yearning to come back home and learn more about myself at home, about my family, my mom and also about the city of L.A.\u003c/p>\n\u003ch2>\u003cstrong>On Blurring the Lines Between Journalism and Memoir\u003c/strong>\u003c/h2>\n\u003cp>This is my first time working in the podcast space. So for me as a journalist, the lens has sort of always been on someone else or a community around the world. It was such a new experience for me to really center my own experience as both a narrator and as a subject. I really had to confront a lot of things in my own life. I had to ask myself questions about what it meant to grow up in L.A. in a certain time. It's both a piece of art, but it's also an experience that really combines a lot of elements of sound and sound design and journalism. It also feels like an audio memoir at the same time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the one hand, as a journalist, it was this investigation into a certain time period in my life that was really formative for me as a teenager. I was reconnecting with old friends and even an old nemesis. On the other hand it was a really tough experience because it really forced me to to confront a certain time period in my life that was relatively traumatic. It was really important for me to reckon with the past and make sense of a time that was really formative in my own life.\u003c/p>\n\u003cfigure id=\"attachment_11833415\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11833415 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1472x1472.jpg 1472w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1104x1104.jpg 1104w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork for \"California Love\" by Théo Lambert\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>On Why Thompson-Hernández's Story is Also the Story of L.A.\u003c/strong>\u003c/h2>\n\u003cp>My story, in terms of how I identify as both a Black and brown person in L.A. who grew up in the '90s, I hadn't really seen the stories that we've presented in this show. I've never seen a story about graffiti told from the experience of someone who was both a graffiti artist and also someone who can document it. Or about the party line that all us teenagers used to call growing up. Or about the Compton Cowboys in this way.\u003c/p>\n\u003cp>I think oftentimes people who come to L.A. to tell stories are transplants, and tell stories about the city that to me feel really voyeuristic. People are just parachuting into a city that I love and respect so much and extracting information and knowledge from communities of color. I think for me, as a person of color, it’s very important to create something that really resonated with the people who I love the most — my friends and my family.\u003c/p>\n\u003cp>I think it's really cool that when you hear my show, you really don't hear a sort of traditional podcasting voice. I sound like someone who everyone knows. I sound like someone's cousin, someone's neighbor. That was a goal. I think we succeeded because of that.\u003c/p>\n\u003ch2>\u003cstrong>On Making an Episode About the 'P Line,' an Anonymous Phone Chat Room Frequented by Youth in the '90s\u003c/strong>\u003c/h2>\n\u003cp>The P Line was one of the early forms of communication [for us], predating social media and Instagram and Facebook and Twitter. The P Line was a place where we could go to escape. People who could become someone else and lead this double life.\u003c/p>\n\u003cp>It was essentially a safe space. Growing up in L.A. at that time, there was a lot of gang violence in the streets, a lot of turmoil and tension. For a lot of us, it was either being in the streets or being at home on the P Line. And a lot of us chose the P Line.\u003c/p>\n\u003cfigure id=\"attachment_11833458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline.jpg\">\u003cimg class=\"wp-image-11833458 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-1472x1472.jpg 1472w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-1104x1104.jpg 1104w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for 'California Love' by Théo Lambert.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>On Making an Episode About his Mom, Eleuteria Hernandez, Who Migrated From Mexico to the U.S. as a Teenager\u003c/strong>\u003c/h2>\n\u003cp>Oftentimes, we only know our parents as our parents. We forget that before us, they had these rich lives. I really wanted her to talk about her migration experience and what that meant for her. These were questions she and I have never really discussed. There's oftentimes fear for folks who migrate here, like a culture of silence. Speaking about the process of migration or leaving home can really lift up old traumas. I'm really grateful that she was able to to open up to me in a way that was really honest.\u003c/p>\n\u003cfigure id=\"attachment_11833421\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11833421 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-1472x1472.jpg 1472w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-1104x1104.jpg 1104w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Walter's mom, Eleuteria Hernandez, is featured in one of the podcast episodes. Artwork by Théo Lambert \u003ccite>(Artwork by Théo Lambert.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My mom's relationship to me was really interesting because she had me when she was about 21. She was a junior at UCLA. I really felt like both of us sort of grew up at the same time. She was a mom. She was a sister. She was a friend. She was a mentor. She was a father. She was so many different things to me.\u003c/p>\n\u003cp>It was really important to remember how I started writing, what inspired me. The books that I read were essentially her books. For a young boy to see that and to experience her grad school life at such a young age, it normalized that experience for me. It really let me know that women of color and people of color can be in grad school and can get Ph.D.s.\u003c/p>\n\u003ch2>\u003cstrong>On the \"Compton Cowboys\" Episode, and Exploring the History of L.A.’s Black Cowboys\u003c/strong>\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.comptoncowboys.com/\">Compton Cowboys\u003c/a> are a group of 10 childhood friends who ride horses in a horse ranch in Compton called the Richland Farms. They have a really special story. I grew up about five minutes away from Compton. But I didn't grow up with the images of Black men and women on horses until I saw them riding around in Compton.\u003c/p>\n\u003cfigure id=\"attachment_11833376\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11833376 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-2048x1365.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony, one of the riders from the Richland Farms, showing his horse to young students in Compton. \u003ccite>(Courtesy of Walter Thompson-Hernández)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think on the surface, we see Black men and women on horses and we imagine that they ride horses for love and for practice and very competitive reasons. Those are all true. There's also something deeper. Black men and women in Compton often have to ride horses to stay alive, to not get policed, to not experience discrimination by Compton's police department. Part of that is really creative and beautiful. But also it's kind of tragic. Trying to understand that in the context of this larger Black Lives Matter movement is really important for me. It lets me know that over time and space, Black folks have had to find creative ways to survive. And in Compton, Black folks often have to ride horses to do that.\u003c/p>\n\u003ch2>\u003cstrong>On How He Hopes “California Love” Will Resonate for People Outside L.A.\u003c/strong>\u003c/h2>\n\u003cp>I'm really hoping that a show like \"California Love\" can unpack a lot of the stereotypes and tropes about a city like L.A. — palm trees and Hollywood and the beaches. All those sorts of areas exist. But there [are] so many layers. And my version of L.A. is mostly people of color. And it's folks who have immigrated to this country. It's Black folks who have been in L.A. for four to three generations now, who have also been displaced. This show for me was really a love letter to both my friends and family who have chose to stay in L.A. despite gentrification, despite the increase in housing costs. It was also for a lot of my friends or family who have been forced out of L.A., forced out of their homes and communities. There is a lot of nostalgia in this show and there's also a lot of grief and sadness — and joy. I'm hoping that people can experience all of that in a way that's both hyper-specific to L.A., but also universal.\u003c/p>\n\u003ch2>\u003cstrong> On What He Loves Most About L.A.\u003c/strong>\u003c/h2>\n\u003cp>To me, L.A. is this crash site for so many different worlds and experiences and languages and cultures. If you grew up in L.A., you've essentially grown up in it in a really global city. So to me, living and understanding L.A. is really a way of understanding the world.\u003c/p>\n\u003cp>There's a lot of hope for folks in my generation. A lot of us have lived outside of L.A., [or] traveled a bit. A lot of us are bent on coming back home and preserving the community experience that we all had growing up. I'm hoping this show can inspire us to keep on doing that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>To hear more about \"California Love\" tune in for an Instagram live on Thursday, Aug. 20 at 3:30 p.m. with Walter Thompson-Hernández and Tonya Mosely, host of the KQED podcast \"Truth Be Told.\" Check out the event page \u003ca href=\"https://www.kqed.org/events/116679659001\">here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Walter Thompson-Hernandez talks about his new podcast and audio memoir, California Love. ","status":"publish","parent":0,"modified":1597461702,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1712},"headData":{"title":"'California Love': New Podcast Explores Growing Up Both Black and Brown in LA | KQED","description":"Walter Thompson-Hernandez talks about his new podcast and audio memoir, California Love.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"11833248 https://ww2.kqed.org/news/?p=11833248","disqusUrl":"https://ww2.kqed.org/news/2020/08/14/california-love-new-podcast-explores-growing-up-both-black-and-brown-in-la/","disqusTitle":"'California Love': New Podcast Explores Growing Up Both Black and Brown in LA","audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-41c5-bcaf-aaef00f5a073/419d27e9-4054-4af4-adf9-ac1701857d2c/audio.mp3","path":"/news/11833248/california-love-new-podcast-explores-growing-up-both-black-and-brown-in-la","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“\u003ca href=\"https://laist.com/podcasts/california-love.php\">California Love\u003c/a>,” a new podcast released last month by \u003ca href=\"https://www.laiststudios.com/\">LAist Studios\u003c/a>, is an audio memoir from writer Walter Thompson-Hernández about growing up in Los Angeles — and coming back. He left L.A. and became a New York Times writer, traveling the world, writing about race, identity and belonging. Thompson-Hernández joined \u003ca href=\"https://podcasts.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\">The California Report Magazine\u003c/a> host Sasha Khokha from his home in Los Angeles to talk about this \"love letter\" to L.A.\u003c/p>\n\u003cp>\u003cem>This conversation has been edited for brevity and clarity.\u003c/em>\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/kca8Bjj7MQo'\n title='//www.youtube.com/embed/kca8Bjj7MQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>\u003cstrong>On L.A. as a Lens to Explore Belonging\u003c/strong>\u003c/h2>\n\u003cp>I've always asked questions about what it means to belong. As a child of a Black father and a Mexican mother, I’ve been in this space where I have questions about identity. I have questions about race, questions about the environments I grew up in. As a \u003ca href=\"http://www.wthdz.com/\">New York Times writer\u003c/a>, I was really interested in asking people who belong to different subcultures similar questions, asking people what it means to both belong and not belong. But eventually, I had this yearning to come back home and learn more about myself at home, about my family, my mom and also about the city of L.A.\u003c/p>\n\u003ch2>\u003cstrong>On Blurring the Lines Between Journalism and Memoir\u003c/strong>\u003c/h2>\n\u003cp>This is my first time working in the podcast space. So for me as a journalist, the lens has sort of always been on someone else or a community around the world. It was such a new experience for me to really center my own experience as both a narrator and as a subject. I really had to confront a lot of things in my own life. I had to ask myself questions about what it meant to grow up in L.A. in a certain time. It's both a piece of art, but it's also an experience that really combines a lot of elements of sound and sound design and journalism. It also feels like an audio memoir at the same time.\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>On the one hand, as a journalist, it was this investigation into a certain time period in my life that was really formative for me as a teenager. I was reconnecting with old friends and even an old nemesis. On the other hand it was a really tough experience because it really forced me to to confront a certain time period in my life that was relatively traumatic. It was really important for me to reckon with the past and make sense of a time that was really formative in my own life.\u003c/p>\n\u003cfigure id=\"attachment_11833415\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11833415 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1472x1472.jpg 1472w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-1104x1104.jpg 1104w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44338_Main-Tile-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork for \"California Love\" by Théo Lambert\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>On Why Thompson-Hernández's Story is Also the Story of L.A.\u003c/strong>\u003c/h2>\n\u003cp>My story, in terms of how I identify as both a Black and brown person in L.A. who grew up in the '90s, I hadn't really seen the stories that we've presented in this show. I've never seen a story about graffiti told from the experience of someone who was both a graffiti artist and also someone who can document it. Or about the party line that all us teenagers used to call growing up. Or about the Compton Cowboys in this way.\u003c/p>\n\u003cp>I think oftentimes people who come to L.A. to tell stories are transplants, and tell stories about the city that to me feel really voyeuristic. People are just parachuting into a city that I love and respect so much and extracting information and knowledge from communities of color. I think for me, as a person of color, it’s very important to create something that really resonated with the people who I love the most — my friends and my family.\u003c/p>\n\u003cp>I think it's really cool that when you hear my show, you really don't hear a sort of traditional podcasting voice. I sound like someone who everyone knows. I sound like someone's cousin, someone's neighbor. That was a goal. I think we succeeded because of that.\u003c/p>\n\u003ch2>\u003cstrong>On Making an Episode About the 'P Line,' an Anonymous Phone Chat Room Frequented by Youth in the '90s\u003c/strong>\u003c/h2>\n\u003cp>The P Line was one of the early forms of communication [for us], predating social media and Instagram and Facebook and Twitter. The P Line was a place where we could go to escape. People who could become someone else and lead this double life.\u003c/p>\n\u003cp>It was essentially a safe space. Growing up in L.A. at that time, there was a lot of gang violence in the streets, a lot of turmoil and tension. For a lot of us, it was either being in the streets or being at home on the P Line. And a lot of us chose the P Line.\u003c/p>\n\u003cfigure id=\"attachment_11833458\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline.jpg\">\u003cimg class=\"wp-image-11833458 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-1472x1472.jpg 1472w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-1104x1104.jpg 1104w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/Pline.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Artwork for 'California Love' by Théo Lambert.\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>On Making an Episode About his Mom, Eleuteria Hernandez, Who Migrated From Mexico to the U.S. as a Teenager\u003c/strong>\u003c/h2>\n\u003cp>Oftentimes, we only know our parents as our parents. We forget that before us, they had these rich lives. I really wanted her to talk about her migration experience and what that meant for her. These were questions she and I have never really discussed. There's oftentimes fear for folks who migrate here, like a culture of silence. Speaking about the process of migration or leaving home can really lift up old traumas. I'm really grateful that she was able to to open up to me in a way that was really honest.\u003c/p>\n\u003cfigure id=\"attachment_11833421\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11833421 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-1536x1536.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-1472x1472.jpg 1472w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-1104x1104.jpg 1104w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-912x912.jpg 912w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-550x550.jpg 550w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut-470x470.jpg 470w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/RS44394_Ellie-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Walter's mom, Eleuteria Hernandez, is featured in one of the podcast episodes. Artwork by Théo Lambert \u003ccite>(Artwork by Théo Lambert.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>My mom's relationship to me was really interesting because she had me when she was about 21. She was a junior at UCLA. I really felt like both of us sort of grew up at the same time. She was a mom. She was a sister. She was a friend. She was a mentor. She was a father. She was so many different things to me.\u003c/p>\n\u003cp>It was really important to remember how I started writing, what inspired me. The books that I read were essentially her books. For a young boy to see that and to experience her grad school life at such a young age, it normalized that experience for me. It really let me know that women of color and people of color can be in grad school and can get Ph.D.s.\u003c/p>\n\u003ch2>\u003cstrong>On the \"Compton Cowboys\" Episode, and Exploring the History of L.A.’s Black Cowboys\u003c/strong>\u003c/h2>\n\u003cp>The \u003ca href=\"https://www.comptoncowboys.com/\">Compton Cowboys\u003c/a> are a group of 10 childhood friends who ride horses in a horse ranch in Compton called the Richland Farms. They have a really special story. I grew up about five minutes away from Compton. But I didn't grow up with the images of Black men and women on horses until I saw them riding around in Compton.\u003c/p>\n\u003cfigure id=\"attachment_11833376\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-11833376 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-1020x680.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-160x107.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-1536x1024.jpg 1536w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-2048x1365.jpg 2048w, https://ww2.kqed.org/app/uploads/sites/10/2020/08/untitled-223-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Anthony, one of the riders from the Richland Farms, showing his horse to young students in Compton. \u003ccite>(Courtesy of Walter Thompson-Hernández)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I think on the surface, we see Black men and women on horses and we imagine that they ride horses for love and for practice and very competitive reasons. Those are all true. There's also something deeper. Black men and women in Compton often have to ride horses to stay alive, to not get policed, to not experience discrimination by Compton's police department. Part of that is really creative and beautiful. But also it's kind of tragic. Trying to understand that in the context of this larger Black Lives Matter movement is really important for me. It lets me know that over time and space, Black folks have had to find creative ways to survive. And in Compton, Black folks often have to ride horses to do that.\u003c/p>\n\u003ch2>\u003cstrong>On How He Hopes “California Love” Will Resonate for People Outside L.A.\u003c/strong>\u003c/h2>\n\u003cp>I'm really hoping that a show like \"California Love\" can unpack a lot of the stereotypes and tropes about a city like L.A. — palm trees and Hollywood and the beaches. All those sorts of areas exist. But there [are] so many layers. And my version of L.A. is mostly people of color. And it's folks who have immigrated to this country. It's Black folks who have been in L.A. for four to three generations now, who have also been displaced. This show for me was really a love letter to both my friends and family who have chose to stay in L.A. despite gentrification, despite the increase in housing costs. It was also for a lot of my friends or family who have been forced out of L.A., forced out of their homes and communities. There is a lot of nostalgia in this show and there's also a lot of grief and sadness — and joy. I'm hoping that people can experience all of that in a way that's both hyper-specific to L.A., but also universal.\u003c/p>\n\u003ch2>\u003cstrong> On What He Loves Most About L.A.\u003c/strong>\u003c/h2>\n\u003cp>To me, L.A. is this crash site for so many different worlds and experiences and languages and cultures. If you grew up in L.A., you've essentially grown up in it in a really global city. So to me, living and understanding L.A. is really a way of understanding the world.\u003c/p>\n\u003cp>There's a lot of hope for folks in my generation. A lot of us have lived outside of L.A., [or] traveled a bit. A lot of us are bent on coming back home and preserving the community experience that we all had growing up. I'm hoping this show can inspire us to keep on doing that.\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>\u003cem>To hear more about \"California Love\" tune in for an Instagram live on Thursday, Aug. 20 at 3:30 p.m. with Walter Thompson-Hernández and Tonya Mosely, host of the KQED podcast \"Truth Be Told.\" Check out the event page \u003ca href=\"https://www.kqed.org/events/116679659001\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/11833248/california-love-new-podcast-explores-growing-up-both-black-and-brown-in-la","authors":["11660"],"programs":["news_72","news_26731"],"categories":["news_8"],"tags":["news_28393","news_28406","news_18294","news_20202","news_28394","news_4","news_20219","news_28395"],"featImg":"news_11833481","label":"news_26731"},"news_10855662":{"type":"posts","id":"news_10855662","meta":{"index":"posts_1591205157","site":"news","id":"10855662","score":null,"sort":[1455005116000]},"guestAuthors":[],"slug":"in-central-valley-park-graffitis-no-crime","title":"Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute","publishDate":1455005116,"format":"image","headTitle":"The California Report | KQED News","labelTerm":{"term":72,"site":"news"},"content":"\u003cp>There aren’t many places in California that boast long, legal, public walls open to graffiti artists. But in southeast Fresno, in the unincorporated community of Calwa, there’s a quarter-mile cinderblock wall that’s open to street artists year-round.\u003c/p>\n\u003cp>“This wall is special,” says \u003ca href=\"http://www.rickywatts.com/\">Ricky Watts\u003c/a>, an aerosol artist from Sebastopol. “This is one of the few places in the state of California where they have a wall like this, this size. There’s no other place like this, really.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/246106574\" params=\"color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" width=\"100%\" height=\"166\" iframe=\"true\" /]\u003c/p>\n\u003cp>And every year, for the past three years, Watts and other members of a graffiti crew called Lords have come from all over the state for a daylong festival in late January memorializing their founder. It’s called the \u003ca href=\"https://www.facebook.com/events/1154648487899512/\">Bizare Art Festival\u003c/a>, named after Salvador “Bizare” Lujan. Bizare started the crew 30 years ago in San Jose when he was just a teenager.\u003c/p>\n\u003cp>“A lot of guys here have been inspired by him,” says Bizare’s sister, Serena Lujan. “They were taken off the streets, taken away from gangs, to be a part of this crew that didn’t have anything to do with that type of lifestyle.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Serena says Bizare was a gentle character who wanted to unite his friends around something positive and creative -- art, music and dance. “He was more of a quiet type, but he had a lot to say,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_10858484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg\" alt=\"Aerosol artist Ricky Watts.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-10858484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-800x794.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-400x397.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-768x762.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-1440x1429.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-1180x1171.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-960x953.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist Ricky Watts. \u003ccite>(Alice Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bizare died of a heart attack three years ago when he was just 44. And that’s when Serena started this yearly festival.\u003c/p>\n\u003cp>“Instead of being at home mourning his passing, I’d rather be here celebrating his life,” she says.\u003c/p>\n\u003cp>About 80 artists typically paint the wall for the festival, including a tattoo artist from San Diego, whose graffiti name is Payne. But before he draws long lines of spray paint on a black surface, he shakes up one of his cans to make sure it has a good spray.\u003c/p>\n\u003cp>“This might be an old can,” he says. “I might need to get a different tip.” He searches through a box of caps and changes out the old one.\u003c/p>\n\u003cp>“Sometimes they take a little work, and also weather’s playing a part. It’s kind of cold out. Cans like to be warm,” he says with a laugh.\u003c/p>\n\u003caside class=\"pullquote alignright\">'We just have graffiti in our blood. This is the medium, it’s larger than life.'\u003ccite>Payne\u003c/cite>\u003c/aside>\n\u003cp>Like the other artists here, Payne is putting up his name in huge, colorful letters. He calls it a Payne piece, as in masterpiece. Although the crew started in San Jose, Payne says it has spread to other parts of the state and beyond.\u003c/p>\n\u003cp>“Now we’re all the way down south, across the pond and into Europe,” he says. “We got members all over the world now. It’s a big crew.”\u003c/p>\n\u003cp>He says it’s mostly made up of working-class guys who like hip-hop, letters, music and dancing.\u003c/p>\n\u003cfigure id=\"attachment_10858520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg\" alt=\"Artist Payne puts up what he calls a ‘Payne Piece.’\" width=\"800\" height=\"541\" class=\"size-medium wp-image-10858520\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-768x520.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-1440x974.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Payne puts up what he calls a ‘Payne Piece.’ \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just have graffiti in our blood. We like to paint. We’re artists. This is the medium, it’s larger than life,” he says.\u003c/p>\n\u003cp>To become a crew member, you have to get noticed, he says. “Just kind of show dedication,” he says. “I won’t talk too much about exploits. But you know, it’s a lot of cred. What you do on the street. You know, just putting up the crew and representing.”\u003c/p>\n\u003cp>[contextly_sidebar id=\"KQqEPm7fduo6mTbAsuLReVSY0R65Hdl3\"]\u003c/p>\n\u003cp>Payne’s been putting up the crew for 20 years. He’s 44 now and owns a tattoo parlor in San Diego, so he treads a little more gently these days.\u003c/p>\n\u003cp>“I tend to keep it more legal. I have a family, I’ve got two little girls, I’ve got a business, you know, so I’m not trying to go out and kill it the way I did when I was a kid. But I still love to do it and as much as I can,” he says.\u003c/p>\n\u003cp>Farther down the wall, Match, a musician from the Bay Area, explains why choosing a graffiti name is important.\u003c/p>\n\u003cfigure id=\"attachment_10858529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg\" alt=\"Match says graffiti artists spend years mastering their letters.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-10858529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Match says graffiti artists spend years mastering their letters. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every one of us painting the wall today has a great appreciation of typography and fonts and letters in general,” he says.\u003c/p>\n\u003cp>Like everyone else here, he’s kind of secretive. He won’t tell his real name or the name of his band, or even what town he lives in.\u003c/p>\n\u003cp>He says good street art means mastering your letters. “We write them over and over again like crazy people on pads of paper from the day we start until the day we die. I’ve probably spent at least two hours every day of my life writing my name over and over again, destroying paperwork, scrap papers and phone books and Bibles in hotels.”\u003c/p>\n\u003cp>Forty-five-year-old Quake is a few spots down the wall from Match. He started writing graffiti some 30 years ago. He says he’s been caught for painting in illegal spots.\u003c/p>\n\u003cp>“I think I got busted for the first time big in 1989,” he says. “I got a lot of hours, 200 community service hours, $4,000 in fines. That’s actually what got me into the piecing aspect.”\u003c/p>\n\u003cp>Piecing is more labor intensive, more complex. It comes from the word masterpiece. “The essence of graffiti is through the tag,” Quake says. “You basically make it bigger, start adding fancy, pretty colors and people appreciate it a little more, I guess. It’s more acceptable.”\u003c/p>\n\u003cp>Today Quake owns an art and apparel company, but his background is in logistics. He worked in the corporate world for years, a kind of dual life, he says. These days, he still paints lots of illegal spots near his home in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_10858469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg\" alt=\"Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-10858469\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-800x460.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-400x230.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-768x442.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-1440x828.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-1180x679.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Spillways, bridges, stuff like that. I just basically go where I can’t be bothered. I’m not really looking to do this to make money. It’s just my hobby. It’s something for me to release. All the frustrations of day-to-day life, I take them out on the wall.”\u003c/p>\n\u003cp>But others do make money using spray paint as their medium. Ricky Watts is a fine artist, muralist and illustrator. His most recent work was a huge mural on the old YMCA building in St. Petersburg, Florida.\u003c/p>\n\u003cp>He says he used to sneak out at night as a teenager to paint graffiti, but what he loved most was art.\u003c/p>\n\u003cp>“I knew early on I loved using spray paint. I wasn’t interested in the vandalism side of it, you know. I really wanted to do big colorful artistic pieces.”\u003c/p>\n\u003cp>And today, the colorful piece he’s doing is a tribute to Bizare.\u003c/p>\n\u003cp>“I’m doing these large simple letters that are going to be very readable, and then inside the letters, I’m gonna take Bizare’s old sketches, and I’m gonna sketch out his letters inside the big letters,” Watts says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s the kind of perspective Bizare would appreciate. Ricky Watts and other Lords crew members’ work can currently be seen on display at the \u003ca href=\"http://oaklandterminalartgallery.bigcartel.com/\">Oakland Terminal Gallery.\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"Artists from across the state pay annual homage to Bizare, founder of the Lords crew, at a legal graffiti wall.","status":"publish","parent":0,"modified":1455042944,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":36,"wordCount":1351},"headData":{"title":"Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute | KQED","description":"Artists from across the state pay annual homage to Bizare, founder of the Lords crew, at a legal graffiti wall.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"10855662 http://ww2.kqed.org/news/?p=10855662","disqusUrl":"https://ww2.kqed.org/news/2016/02/09/in-central-valley-park-graffitis-no-crime/","disqusTitle":"Wall in Fresno Park a Canvas for Graffiti Artists’ Tribute","nprStoryId":"466102773","path":"/news/10855662/in-central-valley-park-graffitis-no-crime","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>There aren’t many places in California that boast long, legal, public walls open to graffiti artists. But in southeast Fresno, in the unincorporated community of Calwa, there’s a quarter-mile cinderblock wall that’s open to street artists year-round.\u003c/p>\n\u003cp>“This wall is special,” says \u003ca href=\"http://www.rickywatts.com/\">Ricky Watts\u003c/a>, an aerosol artist from Sebastopol. “This is one of the few places in the state of California where they have a wall like this, this size. There’s no other place like this, really.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/246106574&visual=true&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false'\n title='https://api.soundcloud.com/tracks/246106574'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>And every year, for the past three years, Watts and other members of a graffiti crew called Lords have come from all over the state for a daylong festival in late January memorializing their founder. It’s called the \u003ca href=\"https://www.facebook.com/events/1154648487899512/\">Bizare Art Festival\u003c/a>, named after Salvador “Bizare” Lujan. Bizare started the crew 30 years ago in San Jose when he was just a teenager.\u003c/p>\n\u003cp>“A lot of guys here have been inspired by him,” says Bizare’s sister, Serena Lujan. “They were taken off the streets, taken away from gangs, to be a part of this crew that didn’t have anything to do with that type of lifestyle.”\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>Serena says Bizare was a gentle character who wanted to unite his friends around something positive and creative -- art, music and dance. “He was more of a quiet type, but he had a lot to say,” she adds.\u003c/p>\n\u003cfigure id=\"attachment_10858484\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/RickyWatts-800x794.jpg\" alt=\"Aerosol artist Ricky Watts.\" width=\"800\" height=\"794\" class=\"size-medium wp-image-10858484\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-800x794.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-400x397.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-768x762.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-1440x1429.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-1180x1171.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-960x953.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/RickyWatts-75x75.jpg 75w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist Ricky Watts. \u003ccite>(Alice Daniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bizare died of a heart attack three years ago when he was just 44. And that’s when Serena started this yearly festival.\u003c/p>\n\u003cp>“Instead of being at home mourning his passing, I’d rather be here celebrating his life,” she says.\u003c/p>\n\u003cp>About 80 artists typically paint the wall for the festival, including a tattoo artist from San Diego, whose graffiti name is Payne. But before he draws long lines of spray paint on a black surface, he shakes up one of his cans to make sure it has a good spray.\u003c/p>\n\u003cp>“This might be an old can,” he says. “I might need to get a different tip.” He searches through a box of caps and changes out the old one.\u003c/p>\n\u003cp>“Sometimes they take a little work, and also weather’s playing a part. It’s kind of cold out. Cans like to be warm,” he says with a laugh.\u003c/p>\n\u003caside class=\"pullquote alignright\">'We just have graffiti in our blood. This is the medium, it’s larger than life.'\u003ccite>Payne\u003c/cite>\u003c/aside>\n\u003cp>Like the other artists here, Payne is putting up his name in huge, colorful letters. He calls it a Payne piece, as in masterpiece. Although the crew started in San Jose, Payne says it has spread to other parts of the state and beyond.\u003c/p>\n\u003cp>“Now we’re all the way down south, across the pond and into Europe,” he says. “We got members all over the world now. It’s a big crew.”\u003c/p>\n\u003cp>He says it’s mostly made up of working-class guys who like hip-hop, letters, music and dancing.\u003c/p>\n\u003cfigure id=\"attachment_10858520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/PayneUp-800x541.jpg\" alt=\"Artist Payne puts up what he calls a ‘Payne Piece.’\" width=\"800\" height=\"541\" class=\"size-medium wp-image-10858520\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-800x541.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-400x271.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-768x520.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-1440x974.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-1180x798.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/PayneUp-960x650.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Payne puts up what he calls a ‘Payne Piece.’ \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We just have graffiti in our blood. We like to paint. We’re artists. This is the medium, it’s larger than life,” he says.\u003c/p>\n\u003cp>To become a crew member, you have to get noticed, he says. “Just kind of show dedication,” he says. “I won’t talk too much about exploits. But you know, it’s a lot of cred. What you do on the street. You know, just putting up the crew and representing.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Payne’s been putting up the crew for 20 years. He’s 44 now and owns a tattoo parlor in San Diego, so he treads a little more gently these days.\u003c/p>\n\u003cp>“I tend to keep it more legal. I have a family, I’ve got two little girls, I’ve got a business, you know, so I’m not trying to go out and kill it the way I did when I was a kid. But I still love to do it and as much as I can,” he says.\u003c/p>\n\u003cp>Farther down the wall, Match, a musician from the Bay Area, explains why choosing a graffiti name is important.\u003c/p>\n\u003cfigure id=\"attachment_10858529\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/Match-800x1067.jpg\" alt=\"Match says graffiti artists spend years mastering their letters.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-10858529\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-800x1067.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-400x533.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-768x1024.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-1440x1920.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-1180x1573.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/Match-960x1280.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Match says graffiti artists spend years mastering their letters. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Every one of us painting the wall today has a great appreciation of typography and fonts and letters in general,” he says.\u003c/p>\n\u003cp>Like everyone else here, he’s kind of secretive. He won’t tell his real name or the name of his band, or even what town he lives in.\u003c/p>\n\u003cp>He says good street art means mastering your letters. “We write them over and over again like crazy people on pads of paper from the day we start until the day we die. I’ve probably spent at least two hours every day of my life writing my name over and over again, destroying paperwork, scrap papers and phone books and Bibles in hotels.”\u003c/p>\n\u003cp>Forty-five-year-old Quake is a few spots down the wall from Match. He started writing graffiti some 30 years ago. He says he’s been caught for painting in illegal spots.\u003c/p>\n\u003cp>“I think I got busted for the first time big in 1989,” he says. “I got a lot of hours, 200 community service hours, $4,000 in fines. That’s actually what got me into the piecing aspect.”\u003c/p>\n\u003cp>Piecing is more labor intensive, more complex. It comes from the word masterpiece. “The essence of graffiti is through the tag,” Quake says. “You basically make it bigger, start adding fancy, pretty colors and people appreciate it a little more, I guess. It’s more acceptable.”\u003c/p>\n\u003cp>Today Quake owns an art and apparel company, but his background is in logistics. He worked in the corporate world for years, a kind of dual life, he says. These days, he still paints lots of illegal spots near his home in the East Bay.\u003c/p>\n\u003cfigure id=\"attachment_10858469\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/02/LordBiz-800x460.jpg\" alt=\"Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare.\" width=\"800\" height=\"460\" class=\"size-medium wp-image-10858469\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-800x460.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-400x230.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-768x442.jpg 768w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-1440x828.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-1180x679.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/02/LordBiz-960x552.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aerosol artist RIcky Watts pays tribute to his crew founder, Bizare. \u003ccite>(Alice Daniel/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Spillways, bridges, stuff like that. I just basically go where I can’t be bothered. I’m not really looking to do this to make money. It’s just my hobby. It’s something for me to release. All the frustrations of day-to-day life, I take them out on the wall.”\u003c/p>\n\u003cp>But others do make money using spray paint as their medium. Ricky Watts is a fine artist, muralist and illustrator. His most recent work was a huge mural on the old YMCA building in St. Petersburg, Florida.\u003c/p>\n\u003cp>He says he used to sneak out at night as a teenager to paint graffiti, but what he loved most was art.\u003c/p>\n\u003cp>“I knew early on I loved using spray paint. I wasn’t interested in the vandalism side of it, you know. I really wanted to do big colorful artistic pieces.”\u003c/p>\n\u003cp>And today, the colorful piece he’s doing is a tribute to Bizare.\u003c/p>\n\u003cp>“I’m doing these large simple letters that are going to be very readable, and then inside the letters, I’m gonna take Bizare’s old sketches, and I’m gonna sketch out his letters inside the big letters,” Watts says.\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>It’s the kind of perspective Bizare would appreciate. Ricky Watts and other Lords crew members’ work can currently be seen on display at the \u003ca href=\"http://oaklandterminalartgallery.bigcartel.com/\">Oakland Terminal Gallery.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10855662/in-central-valley-park-graffitis-no-crime","authors":["208"],"programs":["news_72"],"categories":["news_223","news_8"],"tags":["news_18294","news_18743","news_19029","news_17286"],"featImg":"news_10858478","label":"news_72"},"news_10811880":{"type":"posts","id":"news_10811880","meta":{"index":"posts_1591205157","site":"news","id":"10811880","score":null,"sort":[1451329194000]},"guestAuthors":[],"slug":"san-francisco-takes-on-justin-bieber-over-sidewalk-graffiti","title":"San Francisco Takes on Justin Bieber Over Sidewalk Graffiti","publishDate":1451329194,"format":"standard","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>Finally! A news story featuring both San Francisco City Attorney Dennis Herrera \u003cem>and\u003c/em> Justin Bieber.\u003c/p>\n\u003cp>The Bieb and his record label have drawn the ire of Herrera over a guerrilla marketing campaign that plastered ads for his new album on sidewalks around the city. Residents have been complaining on social media and filing complaints with city officials for weeks.\u003c/p>\n\u003cp>Unlike other recent sidewalk marketing campaigns that used chalk, these ads were applied with permanent spraypaint and have already survived several rainstorms. The city spends $20 million in taxpayer dollars each year to remove graffiti.\u003c/p>\n\u003cp>https://twitter.com/suldrew/status/667801042420043776\u003c/p>\n\u003cp>San Francisco is now demanding cooperation from Bieber's record label and distribution company, Def Jam Records and Universal Music Group, to punish those responsible.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Herrera has vowed to \"aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics,\" he said in a written statement.\u003c/p>\n\u003cp>San Francisco Public Works Director Mohammed Nuru was also critical. \"Our sidewalks in San Francisco are not canvases for corporate advertising, and we have made that clear,\" he said in the news release. \"Yet these guerrilla marketers believe they are above the law when it comes to blighting our city and we will take a strong stand against them.\"\u003c/p>\n\u003cp>A photo of the graffiti\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/3wewxd/worst_haight_graffiti_ever/\" target=\"_blank\"> posted on Reddit\u003c/a> two weeks ago is accompanied by the headline: \"Worst. Haight graffiti. Ever.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Herrera's office has successfully resolved similar violations over the years with corporations like IBM, NBC Universal, Turner Broadcasting and Zynga. In previous cases, those responsible for sidewalk graffiti ads have been fined and made to compensate taxpayers for removal.\u003c/p>\n\n","blocks":[],"excerpt":"San Francisco's city attorney wants to punish those responsible for illegal marketing campaign. ","status":"publish","parent":0,"modified":1451342410,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":10,"wordCount":278},"headData":{"title":"San Francisco Takes on Justin Bieber Over Sidewalk Graffiti | KQED","description":"San Francisco's city attorney wants to punish those responsible for illegal marketing campaign. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"10811880 http://ww2.kqed.org/news/?p=10811880","disqusUrl":"https://ww2.kqed.org/news/2015/12/28/san-francisco-takes-on-justin-bieber-over-sidewalk-graffiti/","disqusTitle":"San Francisco Takes on Justin Bieber Over Sidewalk Graffiti","path":"/news/10811880/san-francisco-takes-on-justin-bieber-over-sidewalk-graffiti","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Finally! A news story featuring both San Francisco City Attorney Dennis Herrera \u003cem>and\u003c/em> Justin Bieber.\u003c/p>\n\u003cp>The Bieb and his record label have drawn the ire of Herrera over a guerrilla marketing campaign that plastered ads for his new album on sidewalks around the city. Residents have been complaining on social media and filing complaints with city officials for weeks.\u003c/p>\n\u003cp>Unlike other recent sidewalk marketing campaigns that used chalk, these ads were applied with permanent spraypaint and have already survived several rainstorms. The city spends $20 million in taxpayer dollars each year to remove graffiti.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"667801042420043776"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>San Francisco is now demanding cooperation from Bieber's record label and distribution company, Def Jam Records and Universal Music Group, to punish those responsible.\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>Herrera has vowed to \"aggressively pursue all available penalties and costs from those responsible for lawless marketing tactics,\" he said in a written statement.\u003c/p>\n\u003cp>San Francisco Public Works Director Mohammed Nuru was also critical. \"Our sidewalks in San Francisco are not canvases for corporate advertising, and we have made that clear,\" he said in the news release. \"Yet these guerrilla marketers believe they are above the law when it comes to blighting our city and we will take a strong stand against them.\"\u003c/p>\n\u003cp>A photo of the graffiti\u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/3wewxd/worst_haight_graffiti_ever/\" target=\"_blank\"> posted on Reddit\u003c/a> two weeks ago is accompanied by the headline: \"Worst. Haight graffiti. Ever.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Herrera's office has successfully resolved similar violations over the years with corporations like IBM, NBC Universal, Turner Broadcasting and Zynga. In previous cases, those responsible for sidewalk graffiti ads have been fined and made to compensate taxpayers for removal.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10811880/san-francisco-takes-on-justin-bieber-over-sidewalk-graffiti","authors":["102"],"programs":["news_6944"],"categories":["news_223","news_8"],"tags":["news_1692","news_18294","news_19029"],"featImg":"news_10811944","label":"news_6944"},"news_10585882":{"type":"posts","id":"news_10585882","meta":{"index":"posts_1591205157","site":"news","id":"10585882","score":null,"sort":[1436198901000]},"guestAuthors":[],"slug":"oakland-struggles-to-keep-pace-with-changing-graffiti-culture","title":"Oakland Struggles to Keep Pace With Changing Graffiti Culture","publishDate":1436198901,"format":"standard","headTitle":"News Fix | KQED News","labelTerm":{"term":6944,"site":"news"},"content":"\u003cp>In West Oakland, mint-green paint covers up a large swath of letters on the side of a concrete wall. Lauren Westreich has already brought out the paint four times since relocating her business here in February. She remembers helping paint her neighbor’s wall, too, which was hit by graffiti 30 feet high.\u003c/p>\n\u003cp>“Somebody came in literally the next day and took a spray can of paint and just scribbled on the wall every inch of freshly painted surface,” said Westreich.\u003c/p>\n\u003cp>The city's cost of cleaning up graffiti has been increasing, not including the dollars spent by private business owners like Westreich. While the city is hungry to keep and grow business in areas like West Oakland, a new task force with limited resources is trying to address an old symbol of urban grit in the face of a changing Oakland.\u003c/p>\n\u003cp>The suspects are not from around here, says Assistant to the City Administrator Joe DeVries.\u003c/p>\n\u003cp>“I caught a couple of guys with spray paint in their back pockets taking pictures of their work and they had Washington plates. I caught another guy doing this, taking pictures of the graffiti art, with Oregon plates over in West Oakland,” said DeVries, who is a member of the city’s new graffiti task force.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On a Wednesday morning, DeVries looks through a green book that has pictures of Oakland graffiti. Colorful monikers fill the pages; he calls them “criminal vandals.” The task force he’s a part of is trying to track who is tagging what and how much money each name has cost the city and private business.\u003c/p>\n\u003cfigure id=\"attachment_10585950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg\">\u003cimg class=\"wp-image-10585950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg\" alt=\"City administrator Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">City staffer Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Oakland passed a law that allowed the city to fine people caught tagging or defacing property without the owner’s consent. The idea is to help the city recoup costs without sending the case to court, where the level of proof is higher, said DeVries. The city hasn’t fined anyone under the law yet, he said, but there are two major cases that the task force is working on.\u003c/p>\n\u003cp>DeVries said Oakland has had success with its illegal dumping task force, which has caught around 150 people and gathered about $50,000 in fines over the past year. But it’s easy for people to take a snapshot of a license plate from a phone, he said. With graffiti, it’s harder to identify people in pictures and prove their guilt.\u003c/p>\n\u003cp>\u003cstrong>Graffiti Costs Increasing\u003c/strong>\u003c/p>\n\u003cp>Meanwhile, Oakland saw an increase of more than 50 percent in costs for graffiti cleanup between 2012 and 2014. Last year, the city spent $1.2 million on graffiti. Caltrans is also cleaning up more graffiti on state-owned property in the city. In fiscal year 2012, that totaled 339,985 square feet (roughly six football fields). But the real costs, to private businesses, can't be calculated, DeVries said.\u003c/p>\n\u003cfigure id=\"attachment_10586027\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323.jpg\">\u003cimg class=\"size-medium wp-image-10586027\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg\" alt=\"If cited, an Oakland business owner has 10 days to clean up graffiti.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If cited, an Oakland business owner has 10 days to clean up graffiti. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland requires businesses to remove graffiti on their own. DeVries said the city doesn’t have the resources to provide paint each time a building is defaced. But he said city officials also don’t drive around picking out buildings to cite. Oakland relies on complaints to the Public Works call center and the city’s \u003ca href=\"http://en.seeclickfix.com/oakland\" target=\"_blank\">SeeClickFix website\u003c/a>, which allows anyone to report blight and other problems directly. There were more than 6,000 graffiti complaints last year, according to the city’s open data website.\u003c/p>\n\u003cp>“The perpetrators of the graffiti know this is a low-level crime,” said Michael Herling, chairman of the group West Oakland Business Alert, which has identified graffiti as one of nine obstacles to keeping and growing business in the neighborhood.\u003c/p>\n\u003cp>Herling’s West Oakland janitorial company faces a concrete wall that’s part of the recycling center across the street. While not a fan of graffiti, Herling admits there’s a big difference between the type of colorful pieces on that wall, called burners, and the “throw-ups” right next door to him.\u003c/p>\n\u003cp>\u003cem>(\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=d2hgKsrOvkk\">\u003cem>Click here to see a video explaining the different types of graffit\u003c/em>i\u003c/a>)\u003c/p>\n\u003cp>“One side is actually kind of cool art and the other side is graffiti,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10587933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219.jpg\">\u003cimg class=\"wp-image-10587933 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg\" alt=\"Across the street from Michael Herling's business in West Oakland is the 'cool art.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Across the street from Michael Herling's business in West Oakland is the 'cool art.' \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10587934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222.jpg\">\u003cimg class=\"wp-image-10587934 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg\" alt='Across from the \"cool art\" is the more typical graffiti that business argue leads to blight and other problems.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">On Herling's side of the street is the more typical graffiti that West Oakland business owners say hurts business growth. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Murals as Solution\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\">As KQED reported\u003c/a> in its Bay Curious series, some street art gets more respect from graffiti writers than others. Herling said that he hasn’t seen any tags on the tops of the large, more artistic pieces across the street. That’s why some cities see value in spending money on murals. In the 2013-14 city budget, $400,000 was allocated for graffiti abatement, with a concentration on murals.\u003c/p>\n\u003cp>But getting that money has been like “pulling teeth,” said Desi Mundo, founder of Community Rejuvenation Project, which has painted more than 100 murals around the city. The allocation for murals has been the only proactive step the city has taken to address graffiti, he said, and Oakland's new law that allows the city to fine people caught writing graffiti isn’t going to help.\u003c/p>\n\u003cp>“It’s a waste of time, a waste of funds,\" he said.\u003c/p>\n\u003cp>Mundo says the only solution is supporting more public art like murals, \u003ca href=\"http://www.contracostatimes.com/news/ci_24389671/extortion-art-oakland-grapples-graffiti\">which have also been controversial\u003c/a> for some business owners who fear retaliation if they don’t allow graffiti artists the right to use their buildings. Mundo dismisses that, but he also knows some illegal graffiti writers don't respect private owners.\u003c/p>\n\u003cp>To them, “a blank wall is a blank wall,” he said.\u003c/p>\n\u003cp>Mundo says murals offer a way to connect with communities where they’re at. One of his most recent projects is the Alice Street mural downtown, which pays tribute to community leaders and the city's culture.\u003c/p>\n\u003cp>“We want to see community-led projects that reflect back on the history,” Mundo said.\u003c/p>\n\u003cfigure id=\"attachment_10587986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091.jpg\">\u003cimg class=\"wp-image-10587986 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo says murals should reflect the communities they are in. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mundo recognizes that there has been a shift in the demographics of graffiti writers in Oakland and that “there’s definitely a greater disconnection between the neighborhood and the people who are going out and painting illegally.” At the same time, what’s making Oakland attractive to these outsiders is the city’s vibrant arts and culture scene, he said.\u003c/p>\n\u003cp>“Oakland is capitalizing on the very thing they’re trying to destroy.\"\u003c/p>\n\u003cp>DeVries said he would support property owners and graffiti writers who want to work harmoniously to find more community spaces for graffiti art. But the city’s resources are thin, he said, and the conversation would have to begin with graffiti writers.\u003c/p>\n\u003cp>“We would likely embrace it if the community embraced it. But if the community is feeling literally vandalized and terrorized by this, we’re not going to embrace that,” he said.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10585968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027.jpg\">\u003cimg class=\"wp-image-10585968 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg\" alt=\"West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. (Devin Katayama/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Right now, businesses are feeling vandalized, and they’re not getting very far addressing the problem. If a business is cited, it has 10 days to clean up the graffiti, but some have said they can’t paint over it quickly enough.\u003c/p>\n\u003cp>Business owners like Lauren Westreich continue to report and paint out graffiti immediately.\u003c/p>\n\u003cp>“It’s very difficult to continue to do it when it feels like there isn’t a robust response because of limited resources and time,” she said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Westreich said spending time and money on problems like graffiti and illegal dumping detracts attention and resources from much larger problems Oakland faces, like economic and social justice.\u003c/p>\n\n","blocks":[],"excerpt":"As the costs of cleaning up graffiti have increased, a new task force is trying to fix an age-old problem.","status":"publish","parent":0,"modified":1436290658,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1392},"headData":{"title":"Oakland Struggles to Keep Pace With Changing Graffiti Culture | KQED","description":"As the costs of cleaning up graffiti have increased, a new task force is trying to fix an age-old problem.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"10585882 http://ww2.kqed.org/news/?p=10585882","disqusUrl":"https://ww2.kqed.org/news/2015/07/06/oakland-struggles-to-keep-pace-with-changing-graffiti-culture/","disqusTitle":"Oakland Struggles to Keep Pace With Changing Graffiti Culture","path":"/news/10585882/oakland-struggles-to-keep-pace-with-changing-graffiti-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In West Oakland, mint-green paint covers up a large swath of letters on the side of a concrete wall. Lauren Westreich has already brought out the paint four times since relocating her business here in February. She remembers helping paint her neighbor’s wall, too, which was hit by graffiti 30 feet high.\u003c/p>\n\u003cp>“Somebody came in literally the next day and took a spray can of paint and just scribbled on the wall every inch of freshly painted surface,” said Westreich.\u003c/p>\n\u003cp>The city's cost of cleaning up graffiti has been increasing, not including the dollars spent by private business owners like Westreich. While the city is hungry to keep and grow business in areas like West Oakland, a new task force with limited resources is trying to address an old symbol of urban grit in the face of a changing Oakland.\u003c/p>\n\u003cp>The suspects are not from around here, says Assistant to the City Administrator Joe DeVries.\u003c/p>\n\u003cp>“I caught a couple of guys with spray paint in their back pockets taking pictures of their work and they had Washington plates. I caught another guy doing this, taking pictures of the graffiti art, with Oregon plates over in West Oakland,” said DeVries, who is a member of the city’s new graffiti task force.\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>On a Wednesday morning, DeVries looks through a green book that has pictures of Oakland graffiti. Colorful monikers fill the pages; he calls them “criminal vandals.” The task force he’s a part of is trying to track who is tagging what and how much money each name has cost the city and private business.\u003c/p>\n\u003cfigure id=\"attachment_10585950\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg\">\u003cimg class=\"wp-image-10585950 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg\" alt=\"City administrator Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut-960x720.jpg 960w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15949_IMG_0024-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">City staffer Joe DeVries say Oakland is trying to build cases against illegal graffiti writers.\u003c/figcaption>\u003c/figure>\n\u003cp>In 2013, Oakland passed a law that allowed the city to fine people caught tagging or defacing property without the owner’s consent. The idea is to help the city recoup costs without sending the case to court, where the level of proof is higher, said DeVries. The city hasn’t fined anyone under the law yet, he said, but there are two major cases that the task force is working on.\u003c/p>\n\u003cp>DeVries said Oakland has had success with its illegal dumping task force, which has caught around 150 people and gathered about $50,000 in fines over the past year. But it’s easy for people to take a snapshot of a license plate from a phone, he said. With graffiti, it’s harder to identify people in pictures and prove their guilt.\u003c/p>\n\u003cp>\u003cstrong>Graffiti Costs Increasing\u003c/strong>\u003c/p>\n\u003cp>Meanwhile, Oakland saw an increase of more than 50 percent in costs for graffiti cleanup between 2012 and 2014. Last year, the city spent $1.2 million on graffiti. Caltrans is also cleaning up more graffiti on state-owned property in the city. In fiscal year 2012, that totaled 339,985 square feet (roughly six football fields). But the real costs, to private businesses, can't be calculated, DeVries said.\u003c/p>\n\u003cfigure id=\"attachment_10586027\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323.jpg\">\u003cimg class=\"size-medium wp-image-10586027\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg\" alt=\"If cited, an Oakland business owner has 10 days to clean up graffiti.\" width=\"800\" height=\"533\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-800x533.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-400x267.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-1440x960.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-1180x787.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15929_IMG_0323-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">If cited, an Oakland business owner has 10 days to clean up graffiti. \u003ccite>(Susan Cohen/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland requires businesses to remove graffiti on their own. DeVries said the city doesn’t have the resources to provide paint each time a building is defaced. But he said city officials also don’t drive around picking out buildings to cite. Oakland relies on complaints to the Public Works call center and the city’s \u003ca href=\"http://en.seeclickfix.com/oakland\" target=\"_blank\">SeeClickFix website\u003c/a>, which allows anyone to report blight and other problems directly. There were more than 6,000 graffiti complaints last year, according to the city’s open data website.\u003c/p>\n\u003cp>“The perpetrators of the graffiti know this is a low-level crime,” said Michael Herling, chairman of the group West Oakland Business Alert, which has identified graffiti as one of nine obstacles to keeping and growing business in the neighborhood.\u003c/p>\n\u003cp>Herling’s West Oakland janitorial company faces a concrete wall that’s part of the recycling center across the street. While not a fan of graffiti, Herling admits there’s a big difference between the type of colorful pieces on that wall, called burners, and the “throw-ups” right next door to him.\u003c/p>\n\u003cp>\u003cem>(\u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=d2hgKsrOvkk\">\u003cem>Click here to see a video explaining the different types of graffit\u003c/em>i\u003c/a>)\u003c/p>\n\u003cp>“One side is actually kind of cool art and the other side is graffiti,” he said.\u003c/p>\n\u003cfigure id=\"attachment_10587933\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219.jpg\">\u003cimg class=\"wp-image-10587933 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg\" alt=\"Across the street from Michael Herling's business in West Oakland is the 'cool art.'\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15953_IMG_0219-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Across the street from Michael Herling's business in West Oakland is the 'cool art.' \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_10587934\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222.jpg\">\u003cimg class=\"wp-image-10587934 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg\" alt='Across from the \"cool art\" is the more typical graffiti that business argue leads to blight and other problems.' width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15955_IMG_0222-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">On Herling's side of the street is the more typical graffiti that West Oakland business owners say hurts business growth. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Murals as Solution\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/news/2015/05/19/why-dont-murals-get-covered-by-graffiti-in-the-mission\">As KQED reported\u003c/a> in its Bay Curious series, some street art gets more respect from graffiti writers than others. Herling said that he hasn’t seen any tags on the tops of the large, more artistic pieces across the street. That’s why some cities see value in spending money on murals. In the 2013-14 city budget, $400,000 was allocated for graffiti abatement, with a concentration on murals.\u003c/p>\n\u003cp>But getting that money has been like “pulling teeth,” said Desi Mundo, founder of Community Rejuvenation Project, which has painted more than 100 murals around the city. The allocation for murals has been the only proactive step the city has taken to address graffiti, he said, and Oakland's new law that allows the city to fine people caught writing graffiti isn’t going to help.\u003c/p>\n\u003cp>“It’s a waste of time, a waste of funds,\" he said.\u003c/p>\n\u003cp>Mundo says the only solution is supporting more public art like murals, \u003ca href=\"http://www.contracostatimes.com/news/ci_24389671/extortion-art-oakland-grapples-graffiti\">which have also been controversial\u003c/a> for some business owners who fear retaliation if they don’t allow graffiti artists the right to use their buildings. Mundo dismisses that, but he also knows some illegal graffiti writers don't respect private owners.\u003c/p>\n\u003cp>To them, “a blank wall is a blank wall,” he said.\u003c/p>\n\u003cp>Mundo says murals offer a way to connect with communities where they’re at. One of his most recent projects is the Alice Street mural downtown, which pays tribute to community leaders and the city's culture.\u003c/p>\n\u003cp>“We want to see community-led projects that reflect back on the history,” Mundo said.\u003c/p>\n\u003cfigure id=\"attachment_10587986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091.jpg\">\u003cimg class=\"wp-image-10587986 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15957_IMG_02091-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Desi Mundo says murals should reflect the communities they are in. \u003ccite>(Devin Katayama/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Mundo recognizes that there has been a shift in the demographics of graffiti writers in Oakland and that “there’s definitely a greater disconnection between the neighborhood and the people who are going out and painting illegally.” At the same time, what’s making Oakland attractive to these outsiders is the city’s vibrant arts and culture scene, he said.\u003c/p>\n\u003cp>“Oakland is capitalizing on the very thing they’re trying to destroy.\"\u003c/p>\n\u003cp>DeVries said he would support property owners and graffiti writers who want to work harmoniously to find more community spaces for graffiti art. But the city’s resources are thin, he said, and the conversation would have to begin with graffiti writers.\u003c/p>\n\u003cp>“We would likely embrace it if the community embraced it. But if the community is feeling literally vandalized and terrorized by this, we’re not going to embrace that,” he said.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_10585968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027.jpg\">\u003cimg class=\"wp-image-10585968 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg\" alt=\"West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. \" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2015/07/RS15951_IMG_0027-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">West Oakland business owner Lauren Westreich says her business has been hit by graffiti four times since opening in February. (Devin Katayama/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>Right now, businesses are feeling vandalized, and they’re not getting very far addressing the problem. If a business is cited, it has 10 days to clean up the graffiti, but some have said they can’t paint over it quickly enough.\u003c/p>\n\u003cp>Business owners like Lauren Westreich continue to report and paint out graffiti immediately.\u003c/p>\n\u003cp>“It’s very difficult to continue to do it when it feels like there isn’t a robust response because of limited resources and time,” she said.\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>Westreich said spending time and money on problems like graffiti and illegal dumping detracts attention and resources from much larger problems Oakland faces, like economic and social justice.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/news/10585882/oakland-struggles-to-keep-pace-with-changing-graffiti-culture","authors":["7240"],"programs":["news_6944"],"categories":["news_223","news_8"],"tags":["news_18294","news_2318"],"featImg":"news_10585890","label":"news_6944"}},"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. Plus, KQED’s Bianca Taylor brings you the local KQED news you need to know.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Consider-This-Podcast-Tile-703x703-1.jpg","imageAlt":"Consider This from NPR and KQED","officialWebsiteLink":"/podcasts/considerthis","meta":{"site":"news","source":"kqed","order":"7"},"link":"/podcasts/considerthis","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1503226625?mt=2&at=11l79Y&ct=nprdirectory","npr":"https://rpb3r.app.goo.gl/coronavirusdaily","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM1NS9wb2RjYXN0LnhtbA","spotify":"https://open.spotify.com/show/3Z6JdCS2d0eFEpXHKI6WqH"}},"forum":{"id":"forum","title":"Forum","tagline":"The conversation starts here","info":"KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.","airtime":"MON-FRI 9am-11am, 10pm-11pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg","imageAlt":"KQED Forum with Mina Kim and Alexis Madrigal","officialWebsiteLink":"/forum","meta":{"site":"news","source":"kqed","order":"8"},"link":"/forum","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/kqeds-forum/id73329719","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz","npr":"https://www.npr.org/podcasts/432307980/forum","stitcher":"https://www.stitcher.com/podcast/kqedfm-kqeds-forum-podcast","rss":"https://feeds.megaphone.fm/KQINC9557381633"}},"freakonomics-radio":{"id":"freakonomics-radio","title":"Freakonomics Radio","info":"Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. 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