‘Re-Entrification’ Documentary Propels Vital Housing Conversations in SF
When a Silicon Valley Taqueria Assembled the World’s Largest Burrito
Learn to Merge: Northern California Freeways & Culture
What Jade Plants Can Tell Us About East Bay Gentrification
Pocho Poet Josiah Luis Alderete Speaks Fire In The Mission
Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland
All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco
As a Filipino American, Dungeness Crab Was Part of My OG San Francisco Childhood
Nimsins Raps About East Oakland With Love
Sponsored
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The groceries and the gas. The sun-eclipsing luxury apartments and the people living without shelter in their shadows. Staying in the Bay and fighting for some concept of “home,” or relocating to a remote, more affordable region.\u003c/p>\n\u003cp>It’s a lot to hold, especially when you consider that the current housing situation is just another layer on top of a heinous history of redlining, land grabs and colonization \u003cspan style=\"font-weight: 400\">— \u003c/span>which needs to be addressed so we can actually change course.\u003c/p>\n\u003cp>This is weighty discourse, and art can open conversations to help us parse through it in community. One such work is \u003cem>Re-Entrification\u003c/em>, a 65-minute documentary that turns to the people most impacted by the housing crisis to seek solutions. Helmed by director Fego Navarro and director of photography/editor Desire Lacap, the 2022 film screens \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 in Redwood City\u003c/a> as a part of an event organized by BraveMaker, and then it will be shown again on \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14 at the Yerba Buena Conference Room\u003c/a>, as a part of an gathering supported by the Metropolitan Transportation Commission.\u003c/p>\n\u003cfigure id=\"attachment_13953386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png\" alt=\"A filmmaker addresses a small crowd. \" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1536x1079.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-2048x1438.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1920x1348.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desire Lacap speaks to an audience at the Chabot Movie Theater in Castro Valley during a recent screening of ‘Re-Entrification.’ \u003ccite>(Aaron Garrette )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Re-Entrification\u003c/em> features insightful interviews with people who’ve lived through evictions and periods of housing insecurity. There’s a candid interview with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jimmiefailsiv/?hl=en\" target=\"_blank\" rel=\"noopener\">Jimmie Fails\u003c/a>, the star and real-life inspiration for \u003cem>The Last Black Man in San Francisco,\u003c/em> the most lauded narrative film about gentrification in the City. \u003c/span>\u003c/p>\n\u003cp>The documentary also features folks who’ve overcome mental health issues and drug addictions, as well as people working on the frontlines to create change and advocate for alternative approaches to housing. One suggestion readily referenced in the film, \u003ca href=\"https://calmatters.org/housing/homelessness/2023/10/california-tiny-homes/\" target=\"_blank\" rel=\"noopener\">the tiny home idea\u003c/a>, has faced its share of criticism from housing advocates. Whether you agree with it or not, the main thing to take away is the momentum behind rethinking how we house people. That’s where we should invest our energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film’s interviews are coupled with beautiful b-roll footage \u003cspan style=\"font-weight: 400\">— \u003c/span>as well as some video that just shouldn’t have been shot. There are glorious images of the City wrapped in fog, showcasing signature San Francisco. And there’s footage of people presumably living on the street. It’s duly sad because of their situation and the fact the scene was shot from a moving car. Although they’re quick clips, people’s faces are shown in safari-like footage. It feels like a contradiction to the film’s mission to humanize people most impacted.\u003c/p>\n\u003cp>To this point, Navarro says, “We were in \u003cspan style=\"font-weight: 400\">the [Tenderloin], driving around with no [filming] permits. Shooting guerrilla style.” He started his filmmaking endeavors while navigating distancing in the early days of the pandemic, and the first-time director admits it wasn’t a perfect process. It’s something he’s looking to make right by working with on-the-ground organizations in a forthcoming series on the same topic. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png\" alt='A frame of poet Aleja (\"Aleja Ajela\") Cobarruviaz during a recorded performance featured in the film Re-Entrification. ' width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM.png 1900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A frame of poet Aleja (“Aleja Ajela”) Cobarruviaz during a recorded performance featured in the film ‘Re-Entrification.’ \u003ccite>(Desire Lacap)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A saving grace for \u003cem>Re-Entrification\u003c/em> is the chorus of homegrown poets who all share messages of local pride, critiques of housing policies and a clear demand for land. The list of lyrical leaders includes \u003ca href=\"https://sfranco510.squarespace.com/about\" target=\"_blank\" rel=\"noopener\">Stephanie Franco\u003c/a>, \u003ca href=\"https://www.thepoeticactivist.com/aboutme\" target=\"_blank\" rel=\"noopener\">Porsche Veu\u003c/a>, \u003ca href=\"https://www.lyricalopposition.org/team\" target=\"_blank\" rel=\"noopener\">Lacy Nguyen\u003c/a>, \u003ca href=\"https://www.instagram.com/ajelazw0rld/\" target=\"_blank\" rel=\"noopener\">Aleja (“Aleja Ajela”) Cobarruviaz\u003c/a> and even a few frames of \u003cspan style=\"font-weight: 400\">San Francisco Poet Laureate \u003c/span>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener\">Tongo Eisen-Martin\u003c/a>.\u003c/p>\n\u003cp>When the poetic verses mix with the experiences of the interviewees, the film grows from a simple documentary to a vital push forward in the ongoing discussion. You know, the discussion that everyone is thinking about. [aside postid='news_11977258']\u003c/p>\n\u003cp>This week, California voters weigh in on \u003ca href=\"https://www.kqed.org/voterguide/california/proposition-1\">Prop 1\u003c/a>, which would allocate $6.4 billion dollars to fund the construction of new treatment beds and housing units for those living with mental health issues. It would also give the state further control over how resources for unhoused people are managed on a local level.\u003c/p>\n\u003cp>Last week, in an interview with\u003ca href=\"https://www.kqed.org/news/11977451/newsom-sees-prop-1-as-a-chance-to-finally-meet-the-needs-of-mentally-ill-californians\" target=\"_blank\" rel=\"noopener\"> KQED’s \u003cem>Political Breakdown\u003c/em>\u003c/a>, Governor Gavin Newsom said this bill is the state’s attempt to make up for years of lackluster resources for Californians battling mental health issues and housing insecurities.\u003c/p>\n\u003cp>While the issue moving up the political ladder is important, so is hearing from the folks on the grassroots level. \u003cem>Re-Entrification’\u003c/em>s director, Navarro, says that’s why his team is doing community screenings.\u003c/p>\n\u003cp>“I can’t say that I have a solution, but I would like to have a platform for the people who’ve been doing the work \u003cspan style=\"font-weight: 400\">—\u003c/span> who are in the community trying to make a change,” says Navarro.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Re-Entrification: Oakland\" src=\"https://player.vimeo.com/video/720862684?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>Since the film’s release, they’ve held a dozen screenings, each one with a conversation to boot. Navarro points to a recent screening at the Brava Theater, where activist and former Board of Supervisors candidate Roberto Hernandez, former Malo band member Leopoldo Rosales and \u003cspan style=\"font-weight: 400\">Ohlone Tribal Monitor\u003c/span> Desiree Dolores Vigil (who also appears in the film) sat on a panel. “They’re the elders,” says Navarro. “They’ve seen the change and the evolution.”\u003c/p>\n\u003cp>Even with the insights from the elders and the fiery lyrics from Gen Z, a clear solution to the issue hasn’t shown its face. Navarro, a Salvadorian American born and raised in San Francisco, says, “At every screening, that’s the thing that comes up. People asking: How do we find a solution?” [aside postid='news_11976472']\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An MC and creative director of the \u003ca href=\"https://www.instagram.com/lyricalopposition/\" target=\"_blank\" rel=\"noopener\">Lyrical Opposition collective\u003c/a>, Navarro made this film on the back of grants from the San Francisco Foundation and the San Francisco Arts Commission. And now that it’s out there, he believes that this is a step toward finding the answer to thing that everyone is thinking about. The key, he says, lies in being in community, getting resources to the people and getting the information out to the masses. \u003c/span>\u003c/p>\n\u003cp>It’s a lofty goal for a problem that has existed since the creation of this country. But even with that starkness of this task, there’s optimism in the film. \u003cspan style=\"font-weight: 400\">At the end of the movie, the narrator, \u003ca href=\"https://www.instagram.com/sin.sineo/?hl=en\" target=\"_blank\" rel=\"noopener\">Sineo\u003c/a>, says the goal is this: “At the most, change the world. At the least, change how we treat each other.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Re-Entrification’ will screen Saturday, \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 at 1840 Harding Avenue, Redwood City,\u003c/a> and again on Thursday, \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14, at the Yerba Buena Conference Room\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The film, screening in Redwood City this week, spotlights people most impacted by the housing crisis. ","status":"publish","parent":0,"modified":1709679981,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1156},"headData":{"title":"‘Re-Entrification’ Documentary Propels Vital Housing Conversations in SF | KQED","description":"The film, screening in Redwood City this week, spotlights people most impacted by the housing crisis. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Re-Entrification’ Documentary Propels Vital Housing Conversations in SF","datePublished":"2024-03-05T22:10:56.000Z","dateModified":"2024-03-05T23:06:21.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13953326/re-entrification-documentary-san-francisco-housing-crisis","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Right now, we’re all thinking about the cost of living. The groceries and the gas. The sun-eclipsing luxury apartments and the people living without shelter in their shadows. Staying in the Bay and fighting for some concept of “home,” or relocating to a remote, more affordable region.\u003c/p>\n\u003cp>It’s a lot to hold, especially when you consider that the current housing situation is just another layer on top of a heinous history of redlining, land grabs and colonization \u003cspan style=\"font-weight: 400\">— \u003c/span>which needs to be addressed so we can actually change course.\u003c/p>\n\u003cp>This is weighty discourse, and art can open conversations to help us parse through it in community. One such work is \u003cem>Re-Entrification\u003c/em>, a 65-minute documentary that turns to the people most impacted by the housing crisis to seek solutions. Helmed by director Fego Navarro and director of photography/editor Desire Lacap, the 2022 film screens \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 in Redwood City\u003c/a> as a part of an event organized by BraveMaker, and then it will be shown again on \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14 at the Yerba Buena Conference Room\u003c/a>, as a part of an gathering supported by the Metropolitan Transportation Commission.\u003c/p>\n\u003cfigure id=\"attachment_13953386\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953386\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png\" alt=\"A filmmaker addresses a small crowd. \" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-800x562.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1020x716.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-160x112.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-768x539.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1536x1079.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-2048x1438.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-05-at-10.16.58-AM-1920x1348.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Desire Lacap speaks to an audience at the Chabot Movie Theater in Castro Valley during a recent screening of ‘Re-Entrification.’ \u003ccite>(Aaron Garrette )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Re-Entrification\u003c/em> features insightful interviews with people who’ve lived through evictions and periods of housing insecurity. There’s a candid interview with \u003cspan style=\"font-weight: 400\">\u003ca href=\"https://www.instagram.com/jimmiefailsiv/?hl=en\" target=\"_blank\" rel=\"noopener\">Jimmie Fails\u003c/a>, the star and real-life inspiration for \u003cem>The Last Black Man in San Francisco,\u003c/em> the most lauded narrative film about gentrification in the City. \u003c/span>\u003c/p>\n\u003cp>The documentary also features folks who’ve overcome mental health issues and drug addictions, as well as people working on the frontlines to create change and advocate for alternative approaches to housing. One suggestion readily referenced in the film, \u003ca href=\"https://calmatters.org/housing/homelessness/2023/10/california-tiny-homes/\" target=\"_blank\" rel=\"noopener\">the tiny home idea\u003c/a>, has faced its share of criticism from housing advocates. Whether you agree with it or not, the main thing to take away is the momentum behind rethinking how we house people. That’s where we should invest our energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film’s interviews are coupled with beautiful b-roll footage \u003cspan style=\"font-weight: 400\">— \u003c/span>as well as some video that just shouldn’t have been shot. There are glorious images of the City wrapped in fog, showcasing signature San Francisco. And there’s footage of people presumably living on the street. It’s duly sad because of their situation and the fact the scene was shot from a moving car. Although they’re quick clips, people’s faces are shown in safari-like footage. It feels like a contradiction to the film’s mission to humanize people most impacted.\u003c/p>\n\u003cp>To this point, Navarro says, “We were in \u003cspan style=\"font-weight: 400\">the [Tenderloin], driving around with no [filming] permits. Shooting guerrilla style.” He started his filmmaking endeavors while navigating distancing in the early days of the pandemic, and the first-time director admits it wasn’t a perfect process. It’s something he’s looking to make right by working with on-the-ground organizations in a forthcoming series on the same topic. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13953387\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13953387\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png\" alt='A frame of poet Aleja (\"Aleja Ajela\") Cobarruviaz during a recorded performance featured in the film Re-Entrification. ' width=\"800\" height=\"447\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-800x447.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1020x570.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-768x429.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM-1536x859.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/03/Screenshot-2024-03-04-at-2.49.58-PM.png 1900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A frame of poet Aleja (“Aleja Ajela”) Cobarruviaz during a recorded performance featured in the film ‘Re-Entrification.’ \u003ccite>(Desire Lacap)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A saving grace for \u003cem>Re-Entrification\u003c/em> is the chorus of homegrown poets who all share messages of local pride, critiques of housing policies and a clear demand for land. The list of lyrical leaders includes \u003ca href=\"https://sfranco510.squarespace.com/about\" target=\"_blank\" rel=\"noopener\">Stephanie Franco\u003c/a>, \u003ca href=\"https://www.thepoeticactivist.com/aboutme\" target=\"_blank\" rel=\"noopener\">Porsche Veu\u003c/a>, \u003ca href=\"https://www.lyricalopposition.org/team\" target=\"_blank\" rel=\"noopener\">Lacy Nguyen\u003c/a>, \u003ca href=\"https://www.instagram.com/ajelazw0rld/\" target=\"_blank\" rel=\"noopener\">Aleja (“Aleja Ajela”) Cobarruviaz\u003c/a> and even a few frames of \u003cspan style=\"font-weight: 400\">San Francisco Poet Laureate \u003c/span>\u003ca href=\"https://www.instagram.com/_tongogara_/\" target=\"_blank\" rel=\"noopener\">Tongo Eisen-Martin\u003c/a>.\u003c/p>\n\u003cp>When the poetic verses mix with the experiences of the interviewees, the film grows from a simple documentary to a vital push forward in the ongoing discussion. You know, the discussion that everyone is thinking about. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11977258","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This week, California voters weigh in on \u003ca href=\"https://www.kqed.org/voterguide/california/proposition-1\">Prop 1\u003c/a>, which would allocate $6.4 billion dollars to fund the construction of new treatment beds and housing units for those living with mental health issues. It would also give the state further control over how resources for unhoused people are managed on a local level.\u003c/p>\n\u003cp>Last week, in an interview with\u003ca href=\"https://www.kqed.org/news/11977451/newsom-sees-prop-1-as-a-chance-to-finally-meet-the-needs-of-mentally-ill-californians\" target=\"_blank\" rel=\"noopener\"> KQED’s \u003cem>Political Breakdown\u003c/em>\u003c/a>, Governor Gavin Newsom said this bill is the state’s attempt to make up for years of lackluster resources for Californians battling mental health issues and housing insecurities.\u003c/p>\n\u003cp>While the issue moving up the political ladder is important, so is hearing from the folks on the grassroots level. \u003cem>Re-Entrification’\u003c/em>s director, Navarro, says that’s why his team is doing community screenings.\u003c/p>\n\u003cp>“I can’t say that I have a solution, but I would like to have a platform for the people who’ve been doing the work \u003cspan style=\"font-weight: 400\">—\u003c/span> who are in the community trying to make a change,” says Navarro.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Re-Entrification: Oakland\" src=\"https://player.vimeo.com/video/720862684?dnt=1&app_id=122963\" width=\"640\" height=\"360\" frameborder=\"0\" allow=\"autoplay; fullscreen; picture-in-picture; clipboard-write\">\u003c/iframe>\u003c/p>\n\u003cp>Since the film’s release, they’ve held a dozen screenings, each one with a conversation to boot. Navarro points to a recent screening at the Brava Theater, where activist and former Board of Supervisors candidate Roberto Hernandez, former Malo band member Leopoldo Rosales and \u003cspan style=\"font-weight: 400\">Ohlone Tribal Monitor\u003c/span> Desiree Dolores Vigil (who also appears in the film) sat on a panel. “They’re the elders,” says Navarro. “They’ve seen the change and the evolution.”\u003c/p>\n\u003cp>Even with the insights from the elders and the fiery lyrics from Gen Z, a clear solution to the issue hasn’t shown its face. Navarro, a Salvadorian American born and raised in San Francisco, says, “At every screening, that’s the thing that comes up. People asking: How do we find a solution?” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11976472","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">An MC and creative director of the \u003ca href=\"https://www.instagram.com/lyricalopposition/\" target=\"_blank\" rel=\"noopener\">Lyrical Opposition collective\u003c/a>, Navarro made this film on the back of grants from the San Francisco Foundation and the San Francisco Arts Commission. And now that it’s out there, he believes that this is a step toward finding the answer to thing that everyone is thinking about. The key, he says, lies in being in community, getting resources to the people and getting the information out to the masses. \u003c/span>\u003c/p>\n\u003cp>It’s a lofty goal for a problem that has existed since the creation of this country. But even with that starkness of this task, there’s optimism in the film. \u003cspan style=\"font-weight: 400\">At the end of the movie, the narrator, \u003ca href=\"https://www.instagram.com/sin.sineo/?hl=en\" target=\"_blank\" rel=\"noopener\">Sineo\u003c/a>, says the goal is this: “At the most, change the world. At the least, change how we treat each other.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>‘Re-Entrification’ will screen Saturday, \u003ca href=\"https://www.eventbrite.com/e/re-entrification-a-documentary-film-screening-presented-by-bravemaker-tickets-818841144907?utm_experiment=test_share_listing&aff=ebdsshios\" target=\"_blank\" rel=\"noopener\">March 9 at 1840 Harding Avenue, Redwood City,\u003c/a> and again on Thursday, \u003ca href=\"https://mtc.ca.gov/meetings-events/metro-talk-re-entrification-documentary-film-screening-discussion-2024-03-14t230000\" target=\"_blank\" rel=\"noopener\">March 14, at the Yerba Buena Conference Room\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13953326/re-entrification-documentary-san-francisco-housing-crisis","authors":["11491"],"categories":["arts_1"],"tags":["arts_14452","arts_10278","arts_1332","arts_4544","arts_769","arts_1146","arts_585"],"featImg":"arts_13953362","label":"arts"},"arts_13952597":{"type":"posts","id":"arts_13952597","meta":{"index":"posts_1591205157","site":"arts","id":"13952597","score":null,"sort":[1708713194000]},"guestAuthors":[],"slug":"worlds-largest-burrito-guinness-record-la-costena-mountain-view","title":"When a Silicon Valley Taqueria Assembled the World’s Largest Burrito","publishDate":1708713194,"format":"standard","headTitle":"When a Silicon Valley Taqueria Assembled the World’s Largest Burrito | KQED","labelTerm":{},"content":"\u003cp>[dropcap]I[/dropcap]n 1997, when the dot-com boom was booming in the heart of Silicon Valley, the tech-focused region engineered another kind of innovation: the world’s largest burrito.\u003c/p>\n\u003cp>The burrito weighed about 4,500 pounds, measured more than 3,500 feet long and required hundreds of volunteers to assemble at Mountain View’s Rengstorff Park. (For reference, a Ford Mustang weighs 3,933 pounds; the Empire State Building stretches for 1,458 feet.) In a way, it was one of the earliest iterations of \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">the Bay Area’s over-the-top, “Latinextravagant” culinary ambitions\u003c/a>, long before going viral on TikTok or Instagram was even possible.\u003c/p>\n\u003cp>Though largely forgotten and eventually superseded in the Guinness Book of World Records — \u003ca href=\"https://www.guinnessworldrecords.com/world-records/largest-burrito\">the current record holder\u003c/a> is a gargantuan, 12,785-pound burrito assembled in Baja California, Mexico, in 2010 — the once-famed achievement still holds weight in Silicon Valley.\u003c/p>\n\u003cp>La Costeña, a Mexican grocery store in Mountain View known for the customizable burritos it served from the back counter, spearheaded the epic effort along with another local business called Burrito Real (which has since closed). The two taquerias had mastered the assembly line-style build-a-burrito method long before Chipotle popularized it — an approach that made them uniquely well suited for the task at hand.\u003c/p>\n\u003cfigure id=\"attachment_13952654\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952654\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367.jpg\" alt=\"a van parked in a parking lot that displays a restaurant's claim to burrito fame in 1997\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nearly three decades later, La Costeña proudly displays its former burrito world record in Mountain View. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though La Costeña has since\u003ca href=\"https://www.mercurynews.com/2010/06/25/revamp-in-works-for-popular-mountain-view-burrito-joint/\"> relocated across town \u003c/a>and no longer offers groceries, the restaurant still slings well-sized burritos at affordable prices in a strip mall lot off East Middlefield Road. Even today, the burritos are often named as some of the best in the city.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside the current location, photos of the record-shattering burrito decorate the restaurant’s otherwise bare walls — an aerial shot that shows the chorizo-and-potato stuffed beast \u003ca href=\"https://www.costena.com/famous.html\">snaking around Rengstorff Park like a baby Godzilla tail\u003c/a>. And there’s an old van parked out front with sun-peeled letters that read, “1997 Guinness Record Worlds [sic] Largest Burrito.” Besides that, there isn’t much physical evidence left. Thankfully, though, La Costena’s moment of glory happened in Silicon Valley, so it was recorded online by first-wave foodies from the Peninsula.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\"]‘The burrito weighed about 4,500 pounds, measured more than 3,500 feet long and required hundreds of volunteers to assemble.’[/pullquote]A quick Google search (Google’s main campus is just a couple miles down the road from today’s La Costeña) reveals some brief testimonies, photos and records of the event. A 1997 report from \u003ci>Silicon Valley Business Journal\u003c/i> declares “\u003ca href=\"https://www.bizjournals.com/sanjose/stories/1997/04/21/tidbits.html\">¡Ay carramba! Burrito makers go for record\u003c/a>.” Strangely — or perhaps predictably — the special burrito operation was organized by Dan Rosen, a tech worker at nearby Sun Microsystems Inc., in the days leading up to Cinco de Mayo. The event drew a large crowd, which featured news reporters (the original food influencers) from around the state and a young Sofia Vergara when the future star was only known as a co-host on \u003ci>Fuera de serie, \u003c/i>a Latino travel show on Univision\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Further internet sleuthing reveals humorous write-ups about the globally-scaled burrito. The now-defunct website \u003ca href=\"http://www.supersizedmeals.com/food/article.php/2006041120363213\">SuperSizedMeals.com described it as “the earliest Supersized meal we have on record … circa 1997\u003c/a>.” The burrito had to be assembled in coordinated sections in order to meet the 90-minute time limit prescribed by the city’s health department.\u003c/p>\n\u003cfigure id=\"attachment_13952608\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena.jpeg\" alt=\"a group of Latino kids stand next to the actress Sofia Vergara at an outdoor park\" width=\"1080\" height=\"709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena.jpeg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena-800x525.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena-1020x670.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena-768x504.jpeg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The author’s childhood friend and his brothers attended the burrito fest at the Rengstorff Park in Mountain View, and met Sofia Vergara. \u003ccite>(Courtesy Adrian San Agustin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.supersizedmeals.com/food/article.php/2006041120363213\">One blogger outlined\u003c/a> how the ingredients came in pre-loaded boxes that weighed 40 pounds and contained tortillas, rice, beans, chorizo and salsa, and had to be distributed and laid out on unfurled aluminum foil at a meticulous but speedy pace: “The tortillas were broken out and laid down with care, 12 per table, as we had been instructed. … Once your section was complete, it was time to leapfrog the other workers and start again.”\u003c/p>\n\u003cp>All told, according to \u003ca href=\"https://www.newspapers.com/image/693179611\">news reports\u003c/a> at the time, the burrito consisted of 123 gallons of rice, 28 gallons of salsa and more than 5,000 flour tortillas.\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13936325,arts_13931115,arts_13936639']\u003c/span>\u003c/strong>\u003c/b>After its completion, which happened under the “officially edible” time limit, the volunteers celebrated by consuming the world’s largest known burrito. “We ravaged that fattie like a wild pack of dogs,” the aforementioned blogger poetically wrote.\u003c/p>\n\u003cp>These days, it might seem strange that this record-breaking effort even took place in Mountain View, a tech suburb that isn’t exactly known for being a Mexican food destination or hub of Latinx culture. Back then, however, the city’s Mexican and Central American immigrant populations were far more sizable than they are today. With that came a famed burrito war between La Costeña and its Salvadoran-owned rival, La Bamba, that lasted over a decade. But in 2013, as part of an ongoing wave of gentrification and redevelopment, \u003ca href=\"https://www.mv-voice.com/news/2013/12/05/taqueria-la-bamba-evicted-la-costena-relocates/\">both restaurants were effectively “evicted” from their original locations\u003c/a>, as La Bamba’s co-owner, Leo Munoz, told the \u003ci>Mountain View Voice\u003c/i> at the time.\u003c/p>\n\u003cp>La Bamba has since gone out of business, along with many of the Latino-owned businesses from that era. But La Costeña — and the legacy of its long burrito — remains.\u003c/p>\n\u003cp>A few weeks ago, I commemorated the achievement by ordering a mole chicken burrito at La Costeña for under $10, which is a steal in today’s economy. For the record, the restaurant’s burrito meat selection is impressive for a sleepy, outwardly-unnoticeable joint in a suburban neighborhood surrounded by tech offices. Besides mole, they offer chile colorado, lengua, pollo borracho (chicken marinated in beer), garlicky al mojo de ajo, fajitas and carnitas estilo Chiconcuac, in addition to the more common options.\u003c/p>\n\u003cfigure id=\"attachment_13952653\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316.jpg\" alt=\"a photo of three restaurant employees holding a large burrito between the three of them\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Not to be confused with the world’s largest burrito, La Costeña often assembled larger-than-average burritos for hungry customers. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>La Costeña also serves a super burrito that could easily feed two. The dish still attracts a noticeable lunch crowd — albeit mostly tech workers on their break, rather than the shop’s former working-class Latino clientele, who have mostly been priced out. And amateur food reviewers continue to travel from places as far as Austin, Texas, to seek out \u003ca href=\"https://winstonwanders.com/2015/03/25/la-costena-mountain-view/\">the former record-holding burrito destination\u003c/a>.\u003c/p>\n\u003cp>Websites like AOL and Ask Jeeves may no longer be around to feed our sense of connection like they once did. But other remnants of the dot-com era, like La Costeña, are still on the map — if you go offline to search for them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>La Costeña (235 E. Middlefield Rd #1A, Mountain View) is open daily from 8 a.m. to 10 p.m. Though no longer the \u003c/i>Guinness Book of World Records\u003ci> record holder for largest burrito, the restaurant still serves a generously-proportioned super burrito that outsizes most.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"A pre-Y2K burrito from Mountain View’s La Costeña once ruled the world (record).","status":"publish","parent":0,"modified":1708717105,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":20,"wordCount":1236},"headData":{"title":"When a Silicon Valley Taqueria Assembled the World’s Largest Burrito | KQED","description":"A pre-Y2K burrito from Mountain View’s La Costeña once ruled the world (record).","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"When a Silicon Valley Taqueria Assembled the World’s Largest Burrito","datePublished":"2024-02-23T18:33:14.000Z","dateModified":"2024-02-23T19:38:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Food","sourceUrl":"https://www.kqed.org/food","sticky":false,"WpOldSlug":"worlds-largest-burrito-silicon-valley-guinness-record-la-costena-mountain-view","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952597/worlds-largest-burrito-guinness-record-la-costena-mountain-view","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp>n 1997, when the dot-com boom was booming in the heart of Silicon Valley, the tech-focused region engineered another kind of innovation: the world’s largest burrito.\u003c/p>\n\u003cp>The burrito weighed about 4,500 pounds, measured more than 3,500 feet long and required hundreds of volunteers to assemble at Mountain View’s Rengstorff Park. (For reference, a Ford Mustang weighs 3,933 pounds; the Empire State Building stretches for 1,458 feet.) In a way, it was one of the earliest iterations of \u003ca href=\"https://www.kqed.org/arts/13936325/social-media-biggest-pupusas-burritos-instagram-tiktok-latinextravagant-bay-area\">the Bay Area’s over-the-top, “Latinextravagant” culinary ambitions\u003c/a>, long before going viral on TikTok or Instagram was even possible.\u003c/p>\n\u003cp>Though largely forgotten and eventually superseded in the Guinness Book of World Records — \u003ca href=\"https://www.guinnessworldrecords.com/world-records/largest-burrito\">the current record holder\u003c/a> is a gargantuan, 12,785-pound burrito assembled in Baja California, Mexico, in 2010 — the once-famed achievement still holds weight in Silicon Valley.\u003c/p>\n\u003cp>La Costeña, a Mexican grocery store in Mountain View known for the customizable burritos it served from the back counter, spearheaded the epic effort along with another local business called Burrito Real (which has since closed). The two taquerias had mastered the assembly line-style build-a-burrito method long before Chipotle popularized it — an approach that made them uniquely well suited for the task at hand.\u003c/p>\n\u003cfigure id=\"attachment_13952654\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952654\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367.jpg\" alt=\"a van parked in a parking lot that displays a restaurant's claim to burrito fame in 1997\" width=\"1920\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6367-1536x1536.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Nearly three decades later, La Costeña proudly displays its former burrito world record in Mountain View. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though La Costeña has since\u003ca href=\"https://www.mercurynews.com/2010/06/25/revamp-in-works-for-popular-mountain-view-burrito-joint/\"> relocated across town \u003c/a>and no longer offers groceries, the restaurant still slings well-sized burritos at affordable prices in a strip mall lot off East Middlefield Road. Even today, the burritos are often named as some of the best in the city.\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>Inside the current location, photos of the record-shattering burrito decorate the restaurant’s otherwise bare walls — an aerial shot that shows the chorizo-and-potato stuffed beast \u003ca href=\"https://www.costena.com/famous.html\">snaking around Rengstorff Park like a baby Godzilla tail\u003c/a>. And there’s an old van parked out front with sun-peeled letters that read, “1997 Guinness Record Worlds [sic] Largest Burrito.” Besides that, there isn’t much physical evidence left. Thankfully, though, La Costena’s moment of glory happened in Silicon Valley, so it was recorded online by first-wave foodies from the Peninsula.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘The burrito weighed about 4,500 pounds, measured more than 3,500 feet long and required hundreds of volunteers to assemble.’","name":"pullquote","attributes":{"named":{"size":"large","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>A quick Google search (Google’s main campus is just a couple miles down the road from today’s La Costeña) reveals some brief testimonies, photos and records of the event. A 1997 report from \u003ci>Silicon Valley Business Journal\u003c/i> declares “\u003ca href=\"https://www.bizjournals.com/sanjose/stories/1997/04/21/tidbits.html\">¡Ay carramba! Burrito makers go for record\u003c/a>.” Strangely — or perhaps predictably — the special burrito operation was organized by Dan Rosen, a tech worker at nearby Sun Microsystems Inc., in the days leading up to Cinco de Mayo. The event drew a large crowd, which featured news reporters (the original food influencers) from around the state and a young Sofia Vergara when the future star was only known as a co-host on \u003ci>Fuera de serie, \u003c/i>a Latino travel show on Univision\u003ci>.\u003c/i>\u003c/p>\n\u003cp>Further internet sleuthing reveals humorous write-ups about the globally-scaled burrito. The now-defunct website \u003ca href=\"http://www.supersizedmeals.com/food/article.php/2006041120363213\">SuperSizedMeals.com described it as “the earliest Supersized meal we have on record … circa 1997\u003c/a>.” The burrito had to be assembled in coordinated sections in order to meet the 90-minute time limit prescribed by the city’s health department.\u003c/p>\n\u003cfigure id=\"attachment_13952608\" class=\"wp-caption alignnone\" style=\"max-width: 1080px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952608\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena.jpeg\" alt=\"a group of Latino kids stand next to the actress Sofia Vergara at an outdoor park\" width=\"1080\" height=\"709\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena.jpeg 1080w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena-800x525.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena-1020x670.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/costena-768x504.jpeg 768w\" sizes=\"(max-width: 1080px) 100vw, 1080px\">\u003cfigcaption class=\"wp-caption-text\">The author’s childhood friend and his brothers attended the burrito fest at the Rengstorff Park in Mountain View, and met Sofia Vergara. \u003ccite>(Courtesy Adrian San Agustin)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://www.supersizedmeals.com/food/article.php/2006041120363213\">One blogger outlined\u003c/a> how the ingredients came in pre-loaded boxes that weighed 40 pounds and contained tortillas, rice, beans, chorizo and salsa, and had to be distributed and laid out on unfurled aluminum foil at a meticulous but speedy pace: “The tortillas were broken out and laid down with care, 12 per table, as we had been instructed. … Once your section was complete, it was time to leapfrog the other workers and start again.”\u003c/p>\n\u003cp>All told, according to \u003ca href=\"https://www.newspapers.com/image/693179611\">news reports\u003c/a> at the time, the burrito consisted of 123 gallons of rice, 28 gallons of salsa and more than 5,000 flour tortillas.\u003c/p>\n\u003cp>\u003cb>\u003cstrong>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13936325,arts_13931115,arts_13936639","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/strong>\u003c/b>After its completion, which happened under the “officially edible” time limit, the volunteers celebrated by consuming the world’s largest known burrito. “We ravaged that fattie like a wild pack of dogs,” the aforementioned blogger poetically wrote.\u003c/p>\n\u003cp>These days, it might seem strange that this record-breaking effort even took place in Mountain View, a tech suburb that isn’t exactly known for being a Mexican food destination or hub of Latinx culture. Back then, however, the city’s Mexican and Central American immigrant populations were far more sizable than they are today. With that came a famed burrito war between La Costeña and its Salvadoran-owned rival, La Bamba, that lasted over a decade. But in 2013, as part of an ongoing wave of gentrification and redevelopment, \u003ca href=\"https://www.mv-voice.com/news/2013/12/05/taqueria-la-bamba-evicted-la-costena-relocates/\">both restaurants were effectively “evicted” from their original locations\u003c/a>, as La Bamba’s co-owner, Leo Munoz, told the \u003ci>Mountain View Voice\u003c/i> at the time.\u003c/p>\n\u003cp>La Bamba has since gone out of business, along with many of the Latino-owned businesses from that era. But La Costeña — and the legacy of its long burrito — remains.\u003c/p>\n\u003cp>A few weeks ago, I commemorated the achievement by ordering a mole chicken burrito at La Costeña for under $10, which is a steal in today’s economy. For the record, the restaurant’s burrito meat selection is impressive for a sleepy, outwardly-unnoticeable joint in a suburban neighborhood surrounded by tech offices. Besides mole, they offer chile colorado, lengua, pollo borracho (chicken marinated in beer), garlicky al mojo de ajo, fajitas and carnitas estilo Chiconcuac, in addition to the more common options.\u003c/p>\n\u003cfigure id=\"attachment_13952653\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13952653\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316.jpg\" alt=\"a photo of three restaurant employees holding a large burrito between the three of them\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/img_6316-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Not to be confused with the world’s largest burrito, La Costeña often assembled larger-than-average burritos for hungry customers. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>La Costeña also serves a super burrito that could easily feed two. The dish still attracts a noticeable lunch crowd — albeit mostly tech workers on their break, rather than the shop’s former working-class Latino clientele, who have mostly been priced out. And amateur food reviewers continue to travel from places as far as Austin, Texas, to seek out \u003ca href=\"https://winstonwanders.com/2015/03/25/la-costena-mountain-view/\">the former record-holding burrito destination\u003c/a>.\u003c/p>\n\u003cp>Websites like AOL and Ask Jeeves may no longer be around to feed our sense of connection like they once did. But other remnants of the dot-com era, like La Costeña, are still on the map — if you go offline to search for them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>\u003ci>La Costeña (235 E. Middlefield Rd #1A, Mountain View) is open daily from 8 a.m. to 10 p.m. Though no longer the \u003c/i>Guinness Book of World Records\u003ci> record holder for largest burrito, the restaurant still serves a generously-proportioned super burrito that outsizes most.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952597/worlds-largest-burrito-guinness-record-la-costena-mountain-view","authors":["11748"],"categories":["arts_1","arts_12276"],"tags":["arts_21731","arts_10278","arts_1297","arts_1332","arts_1256","arts_5747","arts_877","arts_14985","arts_2286","arts_3001","arts_2475"],"featImg":"arts_13952655","label":"source_arts_13952597"},"arts_13952672":{"type":"posts","id":"arts_13952672","meta":{"index":"posts_1591205157","site":"arts","id":"13952672","score":null,"sort":[1708599629000]},"guestAuthors":[],"slug":"learn-to-merge-northern-california-freeways-culture","title":"Learn to Merge: Northern California Freeways & Culture","publishDate":1708599629,"format":"audio","headTitle":"Learn to Merge: Northern California Freeways & Culture | KQED","labelTerm":{"term":8720,"site":"arts"},"content":"\u003cp> \u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Last year I drove over 33,000 miles all around Northern California, constantly pursuing a deeper understanding of this region’s culture. And then one day, while sitting in traffic, it hit me: you can tell a lot about our culture by simply looking at the freeways.\u003c/p>\n\u003cfigure id=\"attachment_13952673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-800x533.jpg\" alt=\"An overhead shot of the MacArthur Maze, an interchange of freeways in Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An overhead shot of the MacArthur Maze, an interchange of freeways in Oakland. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deep potholes turn into kiddie pools when it rains, and signs remind us to be mindful of freeway flooding, evidence of crumbling infrastructure and climate change. Self-automated tollbooths exemplify the post-pandemic changes to labor. No two drivers are alike, so Nissan Altimas travel at the speed of light, zooming past Prii that move as slow as molasses in the winter; it’s clear that this place is the epicenter of diversity.\u003c/p>\n\u003cp>The development of cookie-cutter homes alongside the freeway in suburban areas display our continued sprawl. The rise in homelessness is evidenced by the number of people I see walking on the shoulder of freeways, pushing shopping carts and carrying large backpacks. The amount of shootings on freeways shows us that we do \u003cem>indeed\u003c/em> have a problem with guns in this country.\u003c/p>\n\u003cp>The freeways are dangerous, and they’re beautiful. For some, they’re a quick way to get from point A to point B. For others, the freeway is the route to happiness.\u003c/p>\n\u003cfigure id=\"attachment_13952680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952680\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-800x533.jpg\" alt=\"Light traffic on the move and Oakland in the background on an overcast day in the Bay. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Light traffic on the move and Oakland in the background on an overcast day in the Bay. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I live on the freeway, bobbing to my music while crossing bridges, yelling at people who cut me off. I slow down for the California Highway Patrol (CHP), and speed up when the freeway is empty. And far too often I sit in places where traffic is notoriously snarled — near the Sunol Grade, on the Yolo Bypass, or passing through the MacArthur Maze — and I ask myself questions.\u003c/p>\n\u003cp>What does the prevalence of futuristic charging stations and electric cars say about the South Bay? Who controls the cameras of the self-driving cars in San Francisco? Why are Vallejo’s onramps so abrupt? Why can’t people learn how to merge?\u003c/p>\n\u003cp>And most importantly, if we can readily see the issues that plague our society, why do we keep driving past them?\u003c/p>\n\u003cp>This week, as we celebrate Rightnowish’s 200th episode, I give you a glimpse into the things that I think about while I’m bending corners on Northern California’s highways and byways.\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=KQINC8689330178\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey, what’s up y’all?! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sings]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Do you know what today is? It’s our 200th episode. Two hundred. We bicentennial out here, man, yeah!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you to everyone, everyone who’s appeared on this podcast, tuned in, shared it with a friend. If you’ve attended an event, thank you. And of course, as always, big love to the home team! Thank you for helping me make this thing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Two-hundo! Yeah, let’s do it!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Okay look, today I’ve got a special, personal essay for you. Yes, just for you, from me. It’s about how I’m always driving all around Northern California constantly in pursuit of a deeper understanding of the culture of this region. And then one day, while sitting in traffic, it all clicked: \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This\u003c/span> \u003cspan style=\"font-weight: 400\">is the culture. Right here. On this freeway. Gridlocked, surrounded by hybrids and under buckets, with signs of the times all around us! I gotta let the people know! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, Imma let y’all know… \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Radio tuning, static]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You can tell a lot about the state of society in this region by simply looking at California’s freeways. And because of that, the freeways both fascinate me and they frighten me. They’re the key to life out here, and they’re a death trap. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On one hand, they allow folks quicker ways to get to work, home, the homie’s house or a happy place.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of us live on the freeways, myself included. The roads bend and curve around the foothills and valleys that make up this immaculate piece of land. If you take the right road, it’ll push you up to an elevation that’ll allow you to see the sun touching the earth in a whole new way. On a clear day, California’s freeways provide brief glimpses of heaven. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Traffic, street noise]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> And, at the same time, every single day these freeways produce the most hellacious traffic for no [car horn]-ing reason. At that one spot where multiple lanes converge– sending one group of drivers to San Francisco, and the others through Emeryville– it can take 15 minutes to drive a quarter mile. There’s aggressive honking, animated hand gestures and cold eye contact. Some cars are going too slow, others too fast. And then, when you finally get through it all, there’s inevitably two people at the front of the line who act as if they’ve never merged before. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of the possibility of sitting in traffic so long that your soul rots inside of your living flesh, there’s a chance that being involved in an accident while driving on one of these freeways might actually take your life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this state, around four-thousand drivers die in car accidents each year. State by state, adjusted for population, California’s rate of drivers killed in car accidents is lower than most. But out here, nasty weather and DUI’s, distracted driving and high-speed joyriding– those aren’t the only hazards to avoid on the highways and byways. \u003c/span>\u003cspan style=\"font-weight: 400\">Unfortunately, it can get even more dangerous to drive in the golden state. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">According to\u003c/span> \u003ca href=\"https://www.gov.ca.gov/2024/01/23/governor-newsom-announces-significant-reduction-in-freeway-shootings-across-california/\">\u003cspan style=\"font-weight: 400\">state reports\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, l\u003c/span>\u003cspan style=\"font-weight: 400\">ast year there were 274 shootings on California freeways, a drop from \u003c/span>\u003cspan style=\"font-weight: 400\">349 the year prior. Shootings are attributed to a wide range of occurrences – from mistaken identity, to conflicts between rival factions to road rage. Sadly, shootings on freeways aren’t new, but during the height of the pandemic there was a spike in freeway shootings, and California wasn’t alone in that rise. Across the nation confirmed reports of shootings have gone up more than 50% since 2019. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In Northern California, a number of the shootings have been concentrated in the East Bay and have resulted in bystanders caught in crossfire, including children. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s a certain way you have to move while on the highways and freeways in California, it’s a culture unto itself.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These roads don’t just connect locations, they merge people of different ethnicities, religions, races and economic backgrounds. Some folks drive wildly, covering both lanes. Some people drive conservatively, hands on 10 and 2, not going a single mile per hour over the speed limit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not everyone out here drives, and I know plenty of people who avoid the freeways. But if you’re looking for a place to take an interesting sample size of life out here, the freeway is a microcosm of everything that’s going on right now.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[White noise of highway traffic]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Last year I drove all around Northern California, putting over thirty-thousand miles on my lil Honda hybrid. I call her Hot Chocolate, after the popular 1970s and 80s British soul band, the one that made the song,“Sexy Thing,” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sexy Thing by Hot Chocolate, playing through a car radio]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Where are you from? You sexy thing”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">… amongst other notable tracks. All that mileage was in effort to gain an understanding of the culture of this region. Working as a journalist, I go from studios to schools, radio stations to live events, constantly in traffic. Somewhere along the way, between the Sunol Grade and the MacArthur Maze, I realized that I was looking past the greatest example of what’s going on in this part of the world: the freeway!\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We can start by looking at the signs. We’ve got these digital billboards notifying drivers that ‘driving high is a DUI’\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sounds of sizzling, long exhale]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> …because we’re clearly a state that enjoys its cannabis. All over this region there are signs telling folks that certain freeways and highways are subject to flooding. That’s the most modest way of saying, “Yo, we’ve got some archaic infrastructure, and climate change is kicking our ass!” On some freeways, there are signs asking drivers to be mindful of pedestrians. As the amount of unsheltered people living near underpasses increases, so do the amount of people I’ve seen walking on the shoulder or even across the freeway. Yeah, I’m very mindful.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The signs of the times don’t stop there. Look at the cars: the bumper stickers in Berkeley boasting leftist leaning political perspectives, trucks with the Trump flags can be spotted from Folsom to Fresno.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s big cars with small ‘blue lives matter’ decals, SUVs with skis overhead, heading to Tahoe. There’s Pacific Islander biker crews with palm trees etched on their leather vests, lowrider squads in the slow lane, back to back to back to back, sun glistening off candy paint and gold thangs; cars with 49ers flags on both sides as they ride. Man, look, the first time I saw a “Las Vegas Raiders” license plate frame, I damn near lost my mind.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All around the Bay Area there are cars with broken windows, covered in translucent plastic or taped pieces of cardboard because of break-ins. It’s heart shattering. And the sheer number of hybrids and electric vehicles in the South Bay is astounding. I often wonder who’s on the other side of the camera as I stare at the self-driving cars when I get off the freeway in Frisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Somewhere, right now in the East Bay there’s a 2004 Nissan Altima with no license plates breaking the sound barrier as they hit the HOV lane.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Engine rumbles, traffic noise]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The freeway shows us where our money goes. \u003c/span>\u003cspan style=\"font-weight: 400\">18-wheelers drive in the second lane of 880. Big box trucks slow down traffic on the 5. I don’t drive behind lumber trucks coming down highway 50 because the movie \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Final Destination 2\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> scarred me as a teen. Sweet childhood memories come to mind as I point to a caravan of vehicles carrying miscellaneous pieces of amusement rides – the carnival is in town!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are constantly military vehicles headed to Travis Airforce Base, and a fleet of police officers in Vacaville, so you’ve got to be mindful of the CHP speed traps. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tickets suck. The financial penalty for being in the carpool lane at the wrong time differs from county to county. And I still don’t understand how the express lane on 680 works, so I just stay out of it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between these tickets and tolls, how much money does the state make off of drivers? I wonder.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As workers in orange vests and hard hats lay pavement and new lines on the road, the freeways are growing even wider. What do these freeways say about the future of our region?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I watch adjacent developments of cookie-cutter housing situations on land that was once a salt marsh, rolling hillsides, and grassy valleys. We’re sprawling further and further into the Delta and Central Valley. Who is this housing for? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I sit in traffic, listening to funk songs and podcasts, stand up comedy and early 90s southern gangsta rap, asking myself philosophical questions:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How much of the airborne pollution in this region comes from vehicles on the freeway? How many animals – turkeys, skunks, deer and other wildlife – are killed by cars every year? Is the love of my life in that Jetta that just cut me off? So many questions come from these freeways, and so do answers about the world right now.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The amount of shootings on freeways shows us that we do indeed have a serious problem with access to guns in this country. The amount of people walking on the side of the road, carrying backpacks or pushing shopping carts, that’s a clear sign that there are far too many unhoused people in this state. The biggest issues of our time, from class disparities to climate change, can be identified by simply looking at what’s happening on the freeway and it’s been that way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they constructed the interstate highway system in this country, you know the one that decimated a number of working class majority African American communities, while building the infrastructure that supported the droves of middle class, mostly white communities being replanted in the suburbs of this country, what did that say about America in the 1950s? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Go even further back, it’s not just freeways that show where our money is invested and where the culture is headed. How we move, why we move and the way we move has always been a clear window into our way of life. It not only shows the innovation and creativity, but the issues as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So my question, as I sit in traffic in Emeryville, watching two people argue at that same old spot that pisses everyone off: if we can see the issues, why do we keep driving past them?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Car honks three times, motorcycle engine rumbles]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This episode was written and recited by me, Pendarvis Harshaw. It was produced by Marisol Medina Cadena. Chris Hambrick is our editor. Christopher Beale is our sound designer and engineer. Sheree Bishop is the Rightnowish production intern. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">200 of ‘em. Yeeeaaaah! Let’s do like, 200 more! After a quick nap. Yeah… Peace.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]=\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"You can tell a lot about our culture by simply looking at the freeways.","status":"publish","parent":0,"modified":1709261779,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":66,"wordCount":2481},"headData":{"title":"Learn to Merge: Northern California Freeways & Culture | KQED","description":"This week, as we celebrate Rightnowish's 200th episode, I give you a glimpse into the things that I think about while I'm bending corners on Northern California's highways and byways.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"This week, as we celebrate Rightnowish's 200th episode, I give you a glimpse into the things that I think about while I'm bending corners on Northern California's highways and byways.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Learn to Merge: Northern California Freeways & Culture","datePublished":"2024-02-22T11:00:29.000Z","dateModified":"2024-03-01T02:56:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC8689330178.mp3?updated=1708635999","sticky":false,"WpOldSlug":"learn-how-to-merge-northern-california-freeways-culture","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13952672/learn-to-merge-northern-california-freeways-culture","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003ca href=\"#episode-transcript\">\u003ci>View the full episode transcript.\u003c/i>\u003c/a>\u003c/p>\n\u003cp>Last year I drove over 33,000 miles all around Northern California, constantly pursuing a deeper understanding of this region’s culture. And then one day, while sitting in traffic, it hit me: you can tell a lot about our culture by simply looking at the freeways.\u003c/p>\n\u003cfigure id=\"attachment_13952673\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952673\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-800x533.jpg\" alt=\"An overhead shot of the MacArthur Maze, an interchange of freeways in Oakland. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_001-1-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An overhead shot of the MacArthur Maze, an interchange of freeways in Oakland. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Deep potholes turn into kiddie pools when it rains, and signs remind us to be mindful of freeway flooding, evidence of crumbling infrastructure and climate change. Self-automated tollbooths exemplify the post-pandemic changes to labor. No two drivers are alike, so Nissan Altimas travel at the speed of light, zooming past Prii that move as slow as molasses in the winter; it’s clear that this place is the epicenter of diversity.\u003c/p>\n\u003cp>The development of cookie-cutter homes alongside the freeway in suburban areas display our continued sprawl. The rise in homelessness is evidenced by the number of people I see walking on the shoulder of freeways, pushing shopping carts and carrying large backpacks. The amount of shootings on freeways shows us that we do \u003cem>indeed\u003c/em> have a problem with guns in this country.\u003c/p>\n\u003cp>The freeways are dangerous, and they’re beautiful. For some, they’re a quick way to get from point A to point B. For others, the freeway is the route to happiness.\u003c/p>\n\u003cfigure id=\"attachment_13952680\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13952680\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-800x533.jpg\" alt=\"Light traffic on the move and Oakland in the background on an overcast day in the Bay. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-2048x1364.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Freeway_Grove-Shafter_2024-01-28_Amir-Aziz_019-1-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Light traffic on the move and Oakland in the background on an overcast day in the Bay. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I live on the freeway, bobbing to my music while crossing bridges, yelling at people who cut me off. I slow down for the California Highway Patrol (CHP), and speed up when the freeway is empty. And far too often I sit in places where traffic is notoriously snarled — near the Sunol Grade, on the Yolo Bypass, or passing through the MacArthur Maze — and I ask myself questions.\u003c/p>\n\u003cp>What does the prevalence of futuristic charging stations and electric cars say about the South Bay? Who controls the cameras of the self-driving cars in San Francisco? Why are Vallejo’s onramps so abrupt? Why can’t people learn how to merge?\u003c/p>\n\u003cp>And most importantly, if we can readily see the issues that plague our society, why do we keep driving past them?\u003c/p>\n\u003cp>This week, as we celebrate Rightnowish’s 200th episode, I give you a glimpse into the things that I think about while I’m bending corners on Northern California’s highways and byways.\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=KQINC8689330178\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003ch2>Episode Transcript\u003c/h2>\n\u003cp>\u003cb>Pendarvis Harshaw, host:\u003c/b>\u003cspan style=\"font-weight: 400\"> Hey, what’s up y’all?! \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[sings]\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> Do you know what today is? It’s our 200th episode. Two hundred. We bicentennial out here, man, yeah!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thank you to everyone, everyone who’s appeared on this podcast, tuned in, shared it with a friend. If you’ve attended an event, thank you. And of course, as always, big love to the home team! Thank you for helping me make this thing. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Two-hundo! Yeah, let’s do it!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Okay look, today I’ve got a special, personal essay for you. Yes, just for you, from me. It’s about how I’m always driving all around Northern California constantly in pursuit of a deeper understanding of the culture of this region. And then one day, while sitting in traffic, it all clicked: \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This\u003c/span> \u003cspan style=\"font-weight: 400\">is the culture. Right here. On this freeway. Gridlocked, surrounded by hybrids and under buckets, with signs of the times all around us! I gotta let the people know! \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So, Imma let y’all know… \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Radio tuning, static]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> You can tell a lot about the state of society in this region by simply looking at California’s freeways. And because of that, the freeways both fascinate me and they frighten me. They’re the key to life out here, and they’re a death trap. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On one hand, they allow folks quicker ways to get to work, home, the homie’s house or a happy place.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of us live on the freeways, myself included. The roads bend and curve around the foothills and valleys that make up this immaculate piece of land. If you take the right road, it’ll push you up to an elevation that’ll allow you to see the sun touching the earth in a whole new way. On a clear day, California’s freeways provide brief glimpses of heaven. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Traffic, street noise]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> And, at the same time, every single day these freeways produce the most hellacious traffic for no [car horn]-ing reason. At that one spot where multiple lanes converge– sending one group of drivers to San Francisco, and the others through Emeryville– it can take 15 minutes to drive a quarter mile. There’s aggressive honking, animated hand gestures and cold eye contact. Some cars are going too slow, others too fast. And then, when you finally get through it all, there’s inevitably two people at the front of the line who act as if they’ve never merged before. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">On top of the possibility of sitting in traffic so long that your soul rots inside of your living flesh, there’s a chance that being involved in an accident while driving on one of these freeways might actually take your life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In this state, around four-thousand drivers die in car accidents each year. State by state, adjusted for population, California’s rate of drivers killed in car accidents is lower than most. But out here, nasty weather and DUI’s, distracted driving and high-speed joyriding– those aren’t the only hazards to avoid on the highways and byways. \u003c/span>\u003cspan style=\"font-weight: 400\">Unfortunately, it can get even more dangerous to drive in the golden state. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">According to\u003c/span> \u003ca href=\"https://www.gov.ca.gov/2024/01/23/governor-newsom-announces-significant-reduction-in-freeway-shootings-across-california/\">\u003cspan style=\"font-weight: 400\">state reports\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, l\u003c/span>\u003cspan style=\"font-weight: 400\">ast year there were 274 shootings on California freeways, a drop from \u003c/span>\u003cspan style=\"font-weight: 400\">349 the year prior. Shootings are attributed to a wide range of occurrences – from mistaken identity, to conflicts between rival factions to road rage. Sadly, shootings on freeways aren’t new, but during the height of the pandemic there was a spike in freeway shootings, and California wasn’t alone in that rise. Across the nation confirmed reports of shootings have gone up more than 50% since 2019. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In Northern California, a number of the shootings have been concentrated in the East Bay and have resulted in bystanders caught in crossfire, including children. \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">There’s a certain way you have to move while on the highways and freeways in California, it’s a culture unto itself.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">These roads don’t just connect locations, they merge people of different ethnicities, religions, races and economic backgrounds. Some folks drive wildly, covering both lanes. Some people drive conservatively, hands on 10 and 2, not going a single mile per hour over the speed limit. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Not everyone out here drives, and I know plenty of people who avoid the freeways. But if you’re looking for a place to take an interesting sample size of life out here, the freeway is a microcosm of everything that’s going on right now.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[White noise of highway traffic]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> Last year I drove all around Northern California, putting over thirty-thousand miles on my lil Honda hybrid. I call her Hot Chocolate, after the popular 1970s and 80s British soul band, the one that made the song,“Sexy Thing,” \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sexy Thing by Hot Chocolate, playing through a car radio]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Where are you from? You sexy thing”\u003c/span>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\">… amongst other notable tracks. All that mileage was in effort to gain an understanding of the culture of this region. Working as a journalist, I go from studios to schools, radio stations to live events, constantly in traffic. Somewhere along the way, between the Sunol Grade and the MacArthur Maze, I realized that I was looking past the greatest example of what’s going on in this part of the world: the freeway!\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">We can start by looking at the signs. We’ve got these digital billboards notifying drivers that ‘driving high is a DUI’\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Sounds of sizzling, long exhale]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw:\u003c/b>\u003cspan style=\"font-weight: 400\"> …because we’re clearly a state that enjoys its cannabis. All over this region there are signs telling folks that certain freeways and highways are subject to flooding. That’s the most modest way of saying, “Yo, we’ve got some archaic infrastructure, and climate change is kicking our ass!” On some freeways, there are signs asking drivers to be mindful of pedestrians. As the amount of unsheltered people living near underpasses increases, so do the amount of people I’ve seen walking on the shoulder or even across the freeway. Yeah, I’m very mindful.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The signs of the times don’t stop there. Look at the cars: the bumper stickers in Berkeley boasting leftist leaning political perspectives, trucks with the Trump flags can be spotted from Folsom to Fresno.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There’s big cars with small ‘blue lives matter’ decals, SUVs with skis overhead, heading to Tahoe. There’s Pacific Islander biker crews with palm trees etched on their leather vests, lowrider squads in the slow lane, back to back to back to back, sun glistening off candy paint and gold thangs; cars with 49ers flags on both sides as they ride. Man, look, the first time I saw a “Las Vegas Raiders” license plate frame, I damn near lost my mind.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">All around the Bay Area there are cars with broken windows, covered in translucent plastic or taped pieces of cardboard because of break-ins. It’s heart shattering. And the sheer number of hybrids and electric vehicles in the South Bay is astounding. I often wonder who’s on the other side of the camera as I stare at the self-driving cars when I get off the freeway in Frisco. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Somewhere, right now in the East Bay there’s a 2004 Nissan Altima with no license plates breaking the sound barrier as they hit the HOV lane.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Engine rumbles, traffic noise]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">The freeway shows us where our money goes. \u003c/span>\u003cspan style=\"font-weight: 400\">18-wheelers drive in the second lane of 880. Big box trucks slow down traffic on the 5. I don’t drive behind lumber trucks coming down highway 50 because the movie \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Final Destination 2\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> scarred me as a teen. Sweet childhood memories come to mind as I point to a caravan of vehicles carrying miscellaneous pieces of amusement rides – the carnival is in town!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">There are constantly military vehicles headed to Travis Airforce Base, and a fleet of police officers in Vacaville, so you’ve got to be mindful of the CHP speed traps. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Tickets suck. The financial penalty for being in the carpool lane at the wrong time differs from county to county. And I still don’t understand how the express lane on 680 works, so I just stay out of it. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between these tickets and tolls, how much money does the state make off of drivers? I wonder.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As workers in orange vests and hard hats lay pavement and new lines on the road, the freeways are growing even wider. What do these freeways say about the future of our region?\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I watch adjacent developments of cookie-cutter housing situations on land that was once a salt marsh, rolling hillsides, and grassy valleys. We’re sprawling further and further into the Delta and Central Valley. Who is this housing for? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">I sit in traffic, listening to funk songs and podcasts, stand up comedy and early 90s southern gangsta rap, asking myself philosophical questions:\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How much of the airborne pollution in this region comes from vehicles on the freeway? How many animals – turkeys, skunks, deer and other wildlife – are killed by cars every year? Is the love of my life in that Jetta that just cut me off? So many questions come from these freeways, and so do answers about the world right now.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The amount of shootings on freeways shows us that we do indeed have a serious problem with access to guns in this country. The amount of people walking on the side of the road, carrying backpacks or pushing shopping carts, that’s a clear sign that there are far too many unhoused people in this state. The biggest issues of our time, from class disparities to climate change, can be identified by simply looking at what’s happening on the freeway and it’s been that way. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When they constructed the interstate highway system in this country, you know the one that decimated a number of working class majority African American communities, while building the infrastructure that supported the droves of middle class, mostly white communities being replanted in the suburbs of this country, what did that say about America in the 1950s? \u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Music]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">Go even further back, it’s not just freeways that show where our money is invested and where the culture is headed. How we move, why we move and the way we move has always been a clear window into our way of life. It not only shows the innovation and creativity, but the issues as well. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">So my question, as I sit in traffic in Emeryville, watching two people argue at that same old spot that pisses everyone off: if we can see the issues, why do we keep driving past them?\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">[Car honks three times, motorcycle engine rumbles]\u003c/span>\u003c/i>\u003c/p>\n\u003cp>\u003cb>Pendarvis Harshaw: \u003c/b>\u003cspan style=\"font-weight: 400\">This episode was written and recited by me, Pendarvis Harshaw. It was produced by Marisol Medina Cadena. Chris Hambrick is our editor. Christopher Beale is our sound designer and engineer. Sheree Bishop is the Rightnowish production intern. Additional support provided by Jen Chien, Katie Sprenger, Cesar Saldaña, Ugur Dursun and Holly Kernan.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rightnowish is a KQED Production.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">200 of ‘em. Yeeeaaaah! Let’s do like, 200 more! After a quick nap. Yeah… Peace.\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>=\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13952672/learn-to-merge-northern-california-freeways-culture","authors":["11491"],"programs":["arts_8720"],"categories":["arts_1","arts_835"],"tags":["arts_1331","arts_1398","arts_21966","arts_21964","arts_21963","arts_1332","arts_1143","arts_6764","arts_21965"],"featImg":"arts_13952678","label":"arts_8720"},"arts_13951651":{"type":"posts","id":"arts_13951651","meta":{"index":"posts_1591205157","site":"arts","id":"13951651","score":null,"sort":[1707263400000]},"guestAuthors":[],"slug":"jade-plants-east-bay-gentrification","title":"What Jade Plants Can Tell Us About East Bay Gentrification","publishDate":1707263400,"format":"standard","headTitle":"What Jade Plants Can Tell Us About East Bay Gentrification | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>While meandering down the street the other day, I noticed: the jade plants are blooming! They have happy little flowers, white stars, tinged with pink.\u003c/p>\n\u003cp>A jade plant is defined by its succulent leaves and thick trunks. This is a plant that is a complete idea, minus any blooms. But that’s part of the charm — flowers as lagniappe.\u003c/p>\n\u003cp>Once you notice one jade plant, you notice they’re \u003cem>everywhere\u003c/em>. I don’t think you could go a single residential block in the East Bay without finding at least one, and probably 10 or 50. They might be the region’s single most popular plant, \u003ca href=\"https://oaklandgardenclub.substack.com/p/19-thoughts-on-touch-grass\">if you don’t count grass\u003c/a>. (Not strongly evidenced, just a guess.) I find myself apologizing to beautiful specimens everywhere I go now. \u003cem>I’m sorry I couldn’t see you before, you absolute unit.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13951663\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a.jpg\" alt=\"\" width=\"1456\" height=\"1092\" class=\"size-full wp-image-13951663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a-768x576.jpg 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">The hearty jade plant can seemingly grow anywhere — even in a street bollard. \u003ccite>(Alexis Madrigal/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here’s the thing, though: while succulents are currently very fashionable, the jade plant is … not. And it has not been for many years. I’m sure you know the house-being-flipped look: ornamental grasses, perhaps some rosette-y succulents, wood chips to cover the flaws. But never, ever, ever a jade plant.\u003c/p>\n\u003cp>Trends change; plants grow. So now, the jadescape is a living negative image of gentrification. If there’s a thick jade in the front yard (or over by the trash can storage, or half fallen over in a pot), you know that place probably has not changed hands for quiiiite a while. Thick jadescape means old Bay Area, crystals aligned for a Raiders victory, forgotten spiritualities of shuttered second-wave coffee shops. But how’d they get there in the first place? When were jade plants so popular?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No one really tracks these things or writes histories about the growth and distribution of plant varieties in Northern California. But doesn’t the sturdy jade deserve it? I went back through newspaper archives and old books. Here’s the best I’ve been able to figure it.\u003c/p>\n\u003cfigure id=\"attachment_13951662\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b.jpg\" alt=\"\" width=\"1456\" height=\"1092\" class=\"size-full wp-image-13951662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b-768x576.jpg 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">When you see a jade plant in front of a house or building, it’s a sign of longevity. \u003ccite>(Alexis Madrigal/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scientific name, \u003cem>Crassula ovata\u003c/em>. Like many succulents, the jade plant is from southern Africa. I couldn’t find any specific data on when it entered wide distribution, but it rode in on a wave of orientalism. By 1923, \u003cem>House and Garden\u003c/em> magazine could say, “From every point of view, there could be few more attractive ornaments for a room than one of these Oriental jade plants, and may we not suppose that it would bring something of the enchantment of strange lands and mysterious temples?” \u003c/p>\n\u003cp>Fast forward to 1966 in Stockton, and a newspaper columnist related that “a friend of mine who is very interested in Oriental art and culture loves to display her jade plant in front of a fine hand-painted screen.” Elegante!\u003c/p>\n\u003cp>So, it was an “exotic plant” with a vaguely Eastern gloss that could be had for $1.59 in a 4” pot. It was unkillable, tolerated (even loved) being forgotten, and could be propagated by crudely breaking off a branch and sticking it somewhere. Free jade, easier than free love.\u003c/p>\n\u003cfigure id=\"attachment_13951661\" class=\"wp-caption aligncenter\" style=\"max-width: 693px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13.jpg\" alt=\"\" width=\"693\" height=\"653\" class=\"size-full wp-image-13951661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13.jpg 924w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13-800x753.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13-768x723.jpg 768w\" sizes=\"(max-width: 693px) 100vw, 693px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Maylis’ ‘Plant Parenthood,’ published in the middle of the plant boom in 1975. \u003ccite>(101 Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And here’s the crux of the story. In the early 1970s, ecology had become a new way of seeing the world. City residents were inventing a new kind of relationship with other living things. This is the era that birthed the “fern bar,” macrame hangers, the open space movement, and visionary ecological art like \u003ca href=\"https://www.kqed.org/arts/13950359/bonnie-ora-sherk-fort-mason-review-life-frames-since-1970\">Bonnie Ora Sherk’s “Portable Parks” series\u003c/a>, where she installed temporary parks inside urban infrastructure. Plant sales, including jade, boomed in all the groovy cosmopolitan places.\u003c/p>\n\u003cfigure id=\"attachment_13951659\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9.jpg\" alt=\"\" width=\"1456\" height=\"650\" class=\"size-full wp-image-13951659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9-800x357.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9-1020x455.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9-768x343.jpg 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Bonnie Ora Sherk: Life Frames Since 1970’ at the Fort Mason Center for Arts & Culture. \u003ccite>(Alexis Madrigal/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then? The plant boom ended. You have to love this August 1977 lede in the \u003cem>San Francisco Examiner\u003c/em> by Mickey Friedman, and its checklist of high ’70s Bay Area references:\u003c/p>\n\u003cblockquote>\u003cp>The plant mania that engulfed us a few years ago has dissipated. For a while, it seemed that all hip Bay Area citizens were about to give up their accustomed interests — tie dyeing, primal therapy, movies of the ’40s — to immerse themselves in leaf cuttings and fish emulsion. Should you talk to your plants or play music to them? Kill spider mites with soapsuds or malathion? These were issues of the day, debated as hotly as the merits of est versus Esalen. Now, we can be sensible about plants again. The truth is, plants are nice to have around, but the greater proportion of the populace is not fish-emulsion oriented.\u003c/p>\u003c/blockquote>\n\u003cp>But people didn’t necessarily want to go back to a plant-less life, Friedman argued. They just wanted easier plants, and what easier plant could there be than the jade? It went above the fold.\u003c/p>\n\u003cfigure id=\"attachment_13951660\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4.jpg\" alt=\"\" width=\"1456\" height=\"2560\" class=\"size-full wp-image-13951660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-800x1407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-1020x1793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-160x281.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-768x1350.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-874x1536.jpg 874w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-1165x2048.jpg 1165w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1977 column from Mickey Friedman in the San Francisco Examiner. \u003ccite>(Bancroft Library/Examiner Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As time went by, jade plants ended up in odd places, tucked into forgotten corners, snipped into makeshift hedges, wrapped around a pole, thickening by the driveway, greening up the single-room occupancy hotel. Our climate agreed with them. They thrived wherever no one was looking. They didn’t need to be cared for, just left alone.\u003c/p>\n\u003cp>And some people \u003cem>do\u003c/em> love them! Despite their South African origin, jade plants became popular among some Asian Americans. Strategist Rena Tom recalls her parents’ lovingly tended border in a Sacramento suburb: “Jade is a staple gift for Chinese people, store openings and such, so that’s one way it has spread far and wide,” she said, “by choice and not neglect.”\u003c/p>\n\u003cp>Jade plants propagate so easily that a few really productive plants likely seeded whole blocks. In an interwoven place like Berkeley, maybe all the jade is distantly related, some ceramics auntie’s prize specimen multiplying yard-by-yard. Even generations removed, mustn’t the plants still retain a whiff, an essence of low-note earthiness? I hope so. We need it, we people of blue light hairlessness, of Zoom and emoji eggplants and bright airy kitchens.\u003c/p>\n\u003cp>In any case, I predict a jade resurgence.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story originally appeared in \u003ca href=\"https://oaklandgardenclub.substack.com/\">Oakland Garden Club\u003c/a>, a newsletter about plants and the urban environment. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Jade plants, those longtime residents of the East Bay, are in bloom — a reminder of the region's changes.","status":"publish","parent":0,"modified":1707335193,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1129},"headData":{"title":"What Jade Plants Can Tell Us About East Bay Gentrification | KQED","description":"Jade plants, those longtime residents of the East Bay, are in bloom — a reminder of the region's changes.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"What Jade Plants Can Tell Us About East Bay Gentrification","datePublished":"2024-02-06T23:50:00.000Z","dateModified":"2024-02-07T19:46:33.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13951651/jade-plants-east-bay-gentrification","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>While meandering down the street the other day, I noticed: the jade plants are blooming! They have happy little flowers, white stars, tinged with pink.\u003c/p>\n\u003cp>A jade plant is defined by its succulent leaves and thick trunks. This is a plant that is a complete idea, minus any blooms. But that’s part of the charm — flowers as lagniappe.\u003c/p>\n\u003cp>Once you notice one jade plant, you notice they’re \u003cem>everywhere\u003c/em>. I don’t think you could go a single residential block in the East Bay without finding at least one, and probably 10 or 50. They might be the region’s single most popular plant, \u003ca href=\"https://oaklandgardenclub.substack.com/p/19-thoughts-on-touch-grass\">if you don’t count grass\u003c/a>. (Not strongly evidenced, just a guess.) I find myself apologizing to beautiful specimens everywhere I go now. \u003cem>I’m sorry I couldn’t see you before, you absolute unit.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13951663\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a.jpg\" alt=\"\" width=\"1456\" height=\"1092\" class=\"size-full wp-image-13951663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-98a9b16a2a-768x576.jpg 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">The hearty jade plant can seemingly grow anywhere — even in a street bollard. \u003ccite>(Alexis Madrigal/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Here’s the thing, though: while succulents are currently very fashionable, the jade plant is … not. And it has not been for many years. I’m sure you know the house-being-flipped look: ornamental grasses, perhaps some rosette-y succulents, wood chips to cover the flaws. But never, ever, ever a jade plant.\u003c/p>\n\u003cp>Trends change; plants grow. So now, the jadescape is a living negative image of gentrification. If there’s a thick jade in the front yard (or over by the trash can storage, or half fallen over in a pot), you know that place probably has not changed hands for quiiiite a while. Thick jadescape means old Bay Area, crystals aligned for a Raiders victory, forgotten spiritualities of shuttered second-wave coffee shops. But how’d they get there in the first place? When were jade plants so popular?\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>No one really tracks these things or writes histories about the growth and distribution of plant varieties in Northern California. But doesn’t the sturdy jade deserve it? I went back through newspaper archives and old books. Here’s the best I’ve been able to figure it.\u003c/p>\n\u003cfigure id=\"attachment_13951662\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b.jpg\" alt=\"\" width=\"1456\" height=\"1092\" class=\"size-full wp-image-13951662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-d84b82807b-768x576.jpg 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">When you see a jade plant in front of a house or building, it’s a sign of longevity. \u003ccite>(Alexis Madrigal/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Scientific name, \u003cem>Crassula ovata\u003c/em>. Like many succulents, the jade plant is from southern Africa. I couldn’t find any specific data on when it entered wide distribution, but it rode in on a wave of orientalism. By 1923, \u003cem>House and Garden\u003c/em> magazine could say, “From every point of view, there could be few more attractive ornaments for a room than one of these Oriental jade plants, and may we not suppose that it would bring something of the enchantment of strange lands and mysterious temples?” \u003c/p>\n\u003cp>Fast forward to 1966 in Stockton, and a newspaper columnist related that “a friend of mine who is very interested in Oriental art and culture loves to display her jade plant in front of a fine hand-painted screen.” Elegante!\u003c/p>\n\u003cp>So, it was an “exotic plant” with a vaguely Eastern gloss that could be had for $1.59 in a 4” pot. It was unkillable, tolerated (even loved) being forgotten, and could be propagated by crudely breaking off a branch and sticking it somewhere. Free jade, easier than free love.\u003c/p>\n\u003cfigure id=\"attachment_13951661\" class=\"wp-caption aligncenter\" style=\"max-width: 693px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13.jpg\" alt=\"\" width=\"693\" height=\"653\" class=\"size-full wp-image-13951661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13.jpg 924w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13-800x753.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13-160x151.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-53a57fba13-768x723.jpg 768w\" sizes=\"(max-width: 693px) 100vw, 693px\">\u003cfigcaption class=\"wp-caption-text\">Maggie Maylis’ ‘Plant Parenthood,’ published in the middle of the plant boom in 1975. \u003ccite>(101 Productions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And here’s the crux of the story. In the early 1970s, ecology had become a new way of seeing the world. City residents were inventing a new kind of relationship with other living things. This is the era that birthed the “fern bar,” macrame hangers, the open space movement, and visionary ecological art like \u003ca href=\"https://www.kqed.org/arts/13950359/bonnie-ora-sherk-fort-mason-review-life-frames-since-1970\">Bonnie Ora Sherk’s “Portable Parks” series\u003c/a>, where she installed temporary parks inside urban infrastructure. Plant sales, including jade, boomed in all the groovy cosmopolitan places.\u003c/p>\n\u003cfigure id=\"attachment_13951659\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9.jpg\" alt=\"\" width=\"1456\" height=\"650\" class=\"size-full wp-image-13951659\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9-800x357.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9-1020x455.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9-160x71.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-42080238b9-768x343.jpg 768w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Bonnie Ora Sherk: Life Frames Since 1970’ at the Fort Mason Center for Arts & Culture. \u003ccite>(Alexis Madrigal/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then? The plant boom ended. You have to love this August 1977 lede in the \u003cem>San Francisco Examiner\u003c/em> by Mickey Friedman, and its checklist of high ’70s Bay Area references:\u003c/p>\n\u003cblockquote>\u003cp>The plant mania that engulfed us a few years ago has dissipated. For a while, it seemed that all hip Bay Area citizens were about to give up their accustomed interests — tie dyeing, primal therapy, movies of the ’40s — to immerse themselves in leaf cuttings and fish emulsion. Should you talk to your plants or play music to them? Kill spider mites with soapsuds or malathion? These were issues of the day, debated as hotly as the merits of est versus Esalen. Now, we can be sensible about plants again. The truth is, plants are nice to have around, but the greater proportion of the populace is not fish-emulsion oriented.\u003c/p>\u003c/blockquote>\n\u003cp>But people didn’t necessarily want to go back to a plant-less life, Friedman argued. They just wanted easier plants, and what easier plant could there be than the jade? It went above the fold.\u003c/p>\n\u003cfigure id=\"attachment_13951660\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4.jpg\" alt=\"\" width=\"1456\" height=\"2560\" class=\"size-full wp-image-13951660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-800x1407.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-1020x1793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-160x281.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-768x1350.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-874x1536.jpg 874w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/ezgif-5-85198e5bd4-1165x2048.jpg 1165w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">A 1977 column from Mickey Friedman in the San Francisco Examiner. \u003ccite>(Bancroft Library/Examiner Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As time went by, jade plants ended up in odd places, tucked into forgotten corners, snipped into makeshift hedges, wrapped around a pole, thickening by the driveway, greening up the single-room occupancy hotel. Our climate agreed with them. They thrived wherever no one was looking. They didn’t need to be cared for, just left alone.\u003c/p>\n\u003cp>And some people \u003cem>do\u003c/em> love them! Despite their South African origin, jade plants became popular among some Asian Americans. Strategist Rena Tom recalls her parents’ lovingly tended border in a Sacramento suburb: “Jade is a staple gift for Chinese people, store openings and such, so that’s one way it has spread far and wide,” she said, “by choice and not neglect.”\u003c/p>\n\u003cp>Jade plants propagate so easily that a few really productive plants likely seeded whole blocks. In an interwoven place like Berkeley, maybe all the jade is distantly related, some ceramics auntie’s prize specimen multiplying yard-by-yard. Even generations removed, mustn’t the plants still retain a whiff, an essence of low-note earthiness? I hope so. We need it, we people of blue light hairlessness, of Zoom and emoji eggplants and bright airy kitchens.\u003c/p>\n\u003cp>In any case, I predict a jade resurgence.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\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>This story originally appeared in \u003ca href=\"https://oaklandgardenclub.substack.com/\">Oakland Garden Club\u003c/a>, a newsletter about plants and the urban environment. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951651/jade-plants-east-bay-gentrification","authors":["11757"],"categories":["arts_1","arts_76"],"tags":["arts_1270","arts_5569","arts_10342","arts_10278","arts_12034","arts_1332","arts_1143"],"featImg":"arts_13951668","label":"arts"},"arts_13932147":{"type":"posts","id":"arts_13932147","meta":{"index":"posts_1591205157","site":"arts","id":"13932147","score":null,"sort":[1690538413000]},"guestAuthors":[],"slug":"pocho-poet-josiah-luis-alderete-speaks-fire-in-the-mission","title":"Pocho Poet Josiah Luis Alderete Speaks Fire In The Mission","publishDate":1690538413,"format":"audio","headTitle":"Pocho Poet Josiah Luis Alderete Speaks Fire In The Mission | KQED","labelTerm":{},"content":"\u003cp>In a city that gives the cold shoulder to working class people and creative folks that aren’t backed by trust funds or tech money, \u003ca href=\"https://medicinefornightmares.com/\">Medicine for Nightmares Bookstore\u003c/a> opens their doors to those who still care about the artistic soul of San Francisco.\u003c/p>\n\u003cp>It’s a place where you can walk in and be greeted with a warm “Hey hermano, hey prima, hey familia,” and strike up a conversation with the booksellers, fellow readers or local writers that frequent the Mission shop. It’s a venue where folks can read to a supportive inter generational audience. It’s a gallery space showcasing artists of color. It’s a sanctuary to just stop in and exhale a deep breath from the chaos of the city.\u003c/p>\n\u003cp>This familia vibe is tended to and nurtured by co-owner and poet Josiah Luis Alderete. Coming of age in San Francisco in the 90s, he became immersed in the Mission’s vibrant literary scene. “\u003cspan style=\"font-weight: 400\">People say North Beach is the heart of a literary scene in San Pancho or in San Francisco, and I’d say, nah, man, it’s the Mission,” he muses. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13932150\" class=\"wp-caption alignright\" style=\"max-width: 213px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13932150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Fuchi-faces-800x1243.jpg\" alt=\"A yellow book cover with the title Fuchi Faces de los Estados Jodidos. A black ink print of a woman making a serious face is in the center.\" width=\"213\" height=\"331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-800x1243.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-1020x1584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-768x1193.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-989x1536.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-1319x2048.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-1920x2982.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-scaled.jpg 1648w\" sizes=\"(max-width: 213px) 100vw, 213px\">\u003cfigcaption class=\"wp-caption-text\">Josiah’s latest chapbook of poems.\u003c/figcaption>\u003c/figure>\n\u003cp>As many of the bookstores and cafes from that era have shuttered in the neighborhood, Alderete is helping keep the Mission poetry scene alive through organizing and booking local writers to read and share their work at the 24th street bookstore.\u003c/p>\n\u003cp>In our conversation \u003ca href=\"https://www.kqed.org/arts/13910030/rightnowish-josiah-luis-alderete-medicine-for-nightmares\">back in 2022\u003c/a>, Josiah shared literary history of the Mission, why Axolotl’s show up in his \u003ca href=\"https://citylights.com/general-poetry/baby-axolotls-old-pochos/\">pocho poems\u003c/a>, and how his work is a form of memory keeping.\u003c/p>\n\u003cp>Most recently, Josiah published a new chapbook of poetry called \u003cem>Fuchi Faces de los Estados Jodidos. \u003c/em>He has also been named the\u003cb>\u003ci> \u003c/i>\u003c/b>Fall 2023 \u003ca href=\"https://diva.sfsu.edu/collections/poetrycenter/12635\">Mazza Writer in Residence\u003c/a> at San Francisco State’s Poetry Center. \u003cstrong class=\"Zsym headword\" lang=\"mul\">¡\u003c/strong>Míralo, the poet stays busy poeting!\u003c/p>\n\u003cp>This fall, Medicine for Nightmares will celebrate its 2nd anniversary — a testament to the deep love and dedication that co-owners Alderete and Tân Khánh Cao have invested in the business despite the shaky pandemic economy. If you haven’t visited the store, do yourself a favor and check it out. It’s always filled with good energía and good people.\u003c/p>\n\u003cp>\u003cem>This episode originally aired March 4, 2022 .\u003c/em>\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=KQINC6680099535&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3q9nMzM\">Read the episode transcript\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Josiah Luis Alderete.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> On the cover [of your book] is a picture of a salamander indigenous to Mexico. It has the cute grin and the crown of feathery gills and in Nahuatl it’s called the “axolotl”… That’s also part of the name of your monthly poetry readings, \u003ca href=\"https://medicinefornightmares.com/events/7gcf8kb3kht3arhangdf55galbwdaj\">Speaking Axolotl\u003c/a>. I’d love to know what the axolotl symbolizes for you?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> The axolotl for me goes way back to my high school days. I went to a school that mostly only taught dead white males. So basically, I went to a very, very white school and never saw myself or my cultura in anything that was taught. That was the first place I was ever called a wetback. I remember that quite distinctly. I remember not knowing what it was. There were a lot of other words used there too.\u003c/p>\n\u003cp>But the last month before graduating, the English teacher gave us a short story to read called “Axolotl,” which is a \u003ca href=\"https://ambystoma.uky.edu/teachers_materials/axolitbook/AxolotlByJulioCortazar.html\">story by Julio Cortazar\u003c/a>. And I remember reading that story and connecting with it—Don’t get me wrong, I love reading other cultures, I love them dead white males, they’re great— but I looked [Cortazar] up right after that. I was like, ‘Quién? Who the hell is this?’\u003c/p>\n\u003cp>From Cortazar I found Márquez. From Márquez I found Borges. From Borges I found Silvina Ocampo. From Ocampo, Jimmy Santiago Baca. So it’s Julio that got me jumping off to those other people. So a lot of times when you see me using the axolotl, it’s kind of me giving a tribute back to Julio and that first moment when I connected as a youngster.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> Do the qualities of the axolotl — in that like they regenerate any time a limb is cut off or an organ is cut off — does any of that have resonance for you too?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> Oh yeah, when I realized that the reason we’ve discovered this is because there was some weird, nerdy dude in a science lab basically cutting off the little axolotl limb and he’s going, AHHHHH, (we can’t hear that) but [the limb] does come back, que no, it’s the resilience.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> You mentioning the fact that we know a lot about axolotls because like some scientist in the lab…I think that’s the strange paradox: the axolotl in Mexico are at the brink of extinction yet they’re like one of the most popular animals in research labs around the world. Maybe it’s also an allegory for like Latinx culture: it’s consumed but then [Latinx] people are barely hanging on here in the City.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> Yeah, that makes sense. That makes sense, that dissecting us. They’re always yanking things off, like, ‘What’s this taste like?’ [laughs], Yeah, man. That’s that’s a good one. I like that.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> In the spirit of having, community members come in and share their cuentos and their words [at Medicine for Nightmares] I want to have you read one of your poems from your book, \u003ca href=\"https://www.blackfreighterpress.com/bfpcatalog/p/baby-axolotls-y-old-pochos\">Baby Axolotls & Old Pochos\u003c/a>…\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>(untitled)\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>The rules for Español\u003c/strong>\u003cbr>\n\u003cstrong>en el caro or en la casa\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>the rules for Spanglish\u003c/strong>\u003cbr>\n\u003cstrong>near the front door or on certain playgrounds\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>the rules for English\u003c/strong>\u003cbr>\n\u003cstrong>near the Sizzler salad bar or when we talked about history\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>the rules for Nahuatl that I heard in mi dreams\u003c/strong>\u003cbr>\n\u003cstrong>pues no me acuerdo\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>mi accent goes way way back\u003c/strong>\u003cbr>\n\u003cstrong>and was not formed by the neighborhood I grew up in\u003c/strong>\u003cbr>\n\u003cstrong>or the place that mi familia is from\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>mi accent has been formed\u003c/strong>\u003cbr>\n\u003cstrong>by all those things about ourselves\u003c/strong>\u003cbr>\n\u003cstrong>that were not taught to us\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>by all those things that our ancestors were not allowed to say\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>mi accent has been formed by the forced violent migration\u003c/strong>\u003cbr>\n\u003cstrong>of our gente\u003c/strong>\u003cbr>\n\u003cstrong>by the mystical milagroso migration of our gente\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>along the way\u003c/strong>\u003cbr>\n\u003cstrong>along miles and years\u003c/strong>\u003cbr>\n\u003cstrong>between generations of talking blood and our children becoming our ancestors\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>we have peeled and transformed the idiomas that we have been given\u003c/strong>\u003cbr>\n\u003cstrong>so that we can believe what we are saying about ourselves\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>we’ve used what we’ve forgotten how to pronounce\u003c/strong>\u003cbr>\n\u003cstrong>without even knowing it\u003c/strong>\u003cbr>\n\u003cstrong>como constellations in el cielo\u003c/strong>\u003cbr>\n\u003cstrong>como slang directions to the party\u003c/strong>\u003cbr>\n\u003cstrong>como sagrado pronunciations of a ritual\u003c/strong>\u003cbr>\n\u003cstrong>como palabras that your abuelo spoke folded up in your corazon’s memorias\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>through no fault of our own mispronunciations\u003c/strong>\u003cbr>\n\u003cstrong>our tamales had one oliva each\u003c/strong>\u003cbr>\n\u003cstrong>with a hole in a hole in a hole\u003c/strong>\u003cbr>\n\u003cstrong>where what we were saying should have gone\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>cuando we were little\u003c/strong>\u003cbr>\n\u003cstrong>we spread the palabras out\u003c/strong>\u003cbr>\n\u003cstrong>on our Abuelita’s kitchen table\u003c/strong>\u003cbr>\n\u003cstrong>we’d mix the palabras up\u003c/strong>\u003cbr>\n\u003cstrong>with frijoles and tortillas that Abuelita would make for us\u003c/strong>\u003cbr>\n\u003cstrong>we could taste the history in what we were eating\u003c/strong>\u003cbr>\n\u003cstrong>we didn’t know what it was\u003c/strong>\u003cbr>\n\u003cstrong>we just knew it tasted good\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>that was when I learned\u003c/strong>\u003cbr>\n\u003cstrong>que the palabras that they give to us\u003c/strong>\u003cbr>\n\u003cstrong>no tienen sabor\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>the patron calls us another word for what we are\u003c/strong>\u003cbr>\n\u003cstrong>the religious man calls us another word for who we are\u003c/strong>\u003cbr>\n\u003cstrong>and so many of us end up believing them\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>si no los ponemos trucha\u003c/strong>\u003cbr>\n\u003cstrong>they’ll go ahead and lose us in-between the lines\u003c/strong>\u003cbr>\n\u003cstrong>they’ll go ahead and lose us in translation\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>¿can you pronounce yourself with the words that they have given you?\u003c/strong>\u003cbr>\n\u003cstrong>¿can you pronounce your cultura with the words that they have given you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>we can and do speak border because we have to\u003c/strong>\u003cbr>\n\u003cstrong>we can and do speak very clearly with our ancestor’s voices\u003c/strong>\u003cbr>\n\u003cstrong>I can speak just like mi Tia Vangie in a dream\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I remember all of this\u003c/strong>\u003cbr>\n\u003cstrong>cuando I pronounce and mispronounce the palabras\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> I picked that poem because I thought it spoke to this idea of identity formation and memory keeping, which I think a lot of your poems talk about. How do you see your poetry as a form of culture keeping?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> I mean, Black and brown poets, we’re historians. Art, for a lot of us, is all about survival and survival is history, is memoria. In a very small way my poesía is keeping track of us. Remembering the little things in the neighborhood.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> How do you think younger Josiah would feel about being here in the space as a co-owner alongside another poet [Tân Khánh Cao] owning a bookstore?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> It’s really silly, I always dreamed these dreams, but now that I’m doing it… like, how the hell did this happen? To flash forward and see the possibility that my book is going to be on the shelf and one of these strange, awkward little Latinx test tube babies is going to come in and pick it up and hopefully read something in there that connects ‘em… that’s a beautiful thing. If my poetry could do that to somebody, I think I got what I was supposed to do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Poet Josiah Luis Alderete talks about keeping the Mission District poetry scene alive.\r\n","status":"publish","parent":0,"modified":1705005222,"stats":{"hasAudio":true,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":48,"wordCount":1714},"headData":{"title":"Pocho Poet Josiah Luis Alderete Speaks Fire In The Mission | KQED","description":"Poet Josiah Luis Alderete is helping keep the Mission poetry scene alive through booking local writers to read and share their work at the Medicine for Nightmares Bookstore.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","socialDescription":"Poet Josiah Luis Alderete is helping keep the Mission poetry scene alive through booking local writers to read and share their work at the Medicine for Nightmares Bookstore.","schema":{"@context":"http://schema.org","@type":"Article","headline":"Pocho Poet Josiah Luis Alderete Speaks Fire In The Mission","datePublished":"2023-07-28T10:00:13.000Z","dateModified":"2024-01-11T20:33:42.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Rightnowish","sourceUrl":"https://www.kqed.org/podcasts/rightnowish","audioUrl":"https://www.podtrac.com/pts/redirect.mp3/chrt.fm/track/G6C7C3/traffic.megaphone.fm/KQINC6680099535.mp3?updated=1690504207","sticky":false,"subhead":"Josiah Luis Alderete's poems speak truths about colonialism and displacement but are also imbued with irreverent humor for culture vultures.","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13932147/pocho-poet-josiah-luis-alderete-speaks-fire-in-the-mission","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a city that gives the cold shoulder to working class people and creative folks that aren’t backed by trust funds or tech money, \u003ca href=\"https://medicinefornightmares.com/\">Medicine for Nightmares Bookstore\u003c/a> opens their doors to those who still care about the artistic soul of San Francisco.\u003c/p>\n\u003cp>It’s a place where you can walk in and be greeted with a warm “Hey hermano, hey prima, hey familia,” and strike up a conversation with the booksellers, fellow readers or local writers that frequent the Mission shop. It’s a venue where folks can read to a supportive inter generational audience. It’s a gallery space showcasing artists of color. It’s a sanctuary to just stop in and exhale a deep breath from the chaos of the city.\u003c/p>\n\u003cp>This familia vibe is tended to and nurtured by co-owner and poet Josiah Luis Alderete. Coming of age in San Francisco in the 90s, he became immersed in the Mission’s vibrant literary scene. “\u003cspan style=\"font-weight: 400\">People say North Beach is the heart of a literary scene in San Pancho or in San Francisco, and I’d say, nah, man, it’s the Mission,” he muses. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13932150\" class=\"wp-caption alignright\" style=\"max-width: 213px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\" wp-image-13932150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/Fuchi-faces-800x1243.jpg\" alt=\"A yellow book cover with the title Fuchi Faces de los Estados Jodidos. A black ink print of a woman making a serious face is in the center.\" width=\"213\" height=\"331\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-800x1243.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-1020x1584.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-768x1193.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-989x1536.jpg 989w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-1319x2048.jpg 1319w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-1920x2982.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/Fuchi-faces-scaled.jpg 1648w\" sizes=\"(max-width: 213px) 100vw, 213px\">\u003cfigcaption class=\"wp-caption-text\">Josiah’s latest chapbook of poems.\u003c/figcaption>\u003c/figure>\n\u003cp>As many of the bookstores and cafes from that era have shuttered in the neighborhood, Alderete is helping keep the Mission poetry scene alive through organizing and booking local writers to read and share their work at the 24th street bookstore.\u003c/p>\n\u003cp>In our conversation \u003ca href=\"https://www.kqed.org/arts/13910030/rightnowish-josiah-luis-alderete-medicine-for-nightmares\">back in 2022\u003c/a>, Josiah shared literary history of the Mission, why Axolotl’s show up in his \u003ca href=\"https://citylights.com/general-poetry/baby-axolotls-old-pochos/\">pocho poems\u003c/a>, and how his work is a form of memory keeping.\u003c/p>\n\u003cp>Most recently, Josiah published a new chapbook of poetry called \u003cem>Fuchi Faces de los Estados Jodidos. \u003c/em>He has also been named the\u003cb>\u003ci> \u003c/i>\u003c/b>Fall 2023 \u003ca href=\"https://diva.sfsu.edu/collections/poetrycenter/12635\">Mazza Writer in Residence\u003c/a> at San Francisco State’s Poetry Center. \u003cstrong class=\"Zsym headword\" lang=\"mul\">¡\u003c/strong>Míralo, the poet stays busy poeting!\u003c/p>\n\u003cp>This fall, Medicine for Nightmares will celebrate its 2nd anniversary — a testament to the deep love and dedication that co-owners Alderete and Tân Khánh Cao have invested in the business despite the shaky pandemic economy. If you haven’t visited the store, do yourself a favor and check it out. It’s always filled with good energía and good people.\u003c/p>\n\u003cp>\u003cem>This episode originally aired March 4, 2022 .\u003c/em>\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=KQINC6680099535&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://bit.ly/3q9nMzM\">Read the episode transcript\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Josiah Luis Alderete.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> On the cover [of your book] is a picture of a salamander indigenous to Mexico. It has the cute grin and the crown of feathery gills and in Nahuatl it’s called the “axolotl”… That’s also part of the name of your monthly poetry readings, \u003ca href=\"https://medicinefornightmares.com/events/7gcf8kb3kht3arhangdf55galbwdaj\">Speaking Axolotl\u003c/a>. I’d love to know what the axolotl symbolizes for you?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> The axolotl for me goes way back to my high school days. I went to a school that mostly only taught dead white males. So basically, I went to a very, very white school and never saw myself or my cultura in anything that was taught. That was the first place I was ever called a wetback. I remember that quite distinctly. I remember not knowing what it was. There were a lot of other words used there too.\u003c/p>\n\u003cp>But the last month before graduating, the English teacher gave us a short story to read called “Axolotl,” which is a \u003ca href=\"https://ambystoma.uky.edu/teachers_materials/axolitbook/AxolotlByJulioCortazar.html\">story by Julio Cortazar\u003c/a>. And I remember reading that story and connecting with it—Don’t get me wrong, I love reading other cultures, I love them dead white males, they’re great— but I looked [Cortazar] up right after that. I was like, ‘Quién? Who the hell is this?’\u003c/p>\n\u003cp>From Cortazar I found Márquez. From Márquez I found Borges. From Borges I found Silvina Ocampo. From Ocampo, Jimmy Santiago Baca. So it’s Julio that got me jumping off to those other people. So a lot of times when you see me using the axolotl, it’s kind of me giving a tribute back to Julio and that first moment when I connected as a youngster.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> Do the qualities of the axolotl — in that like they regenerate any time a limb is cut off or an organ is cut off — does any of that have resonance for you too?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> Oh yeah, when I realized that the reason we’ve discovered this is because there was some weird, nerdy dude in a science lab basically cutting off the little axolotl limb and he’s going, AHHHHH, (we can’t hear that) but [the limb] does come back, que no, it’s the resilience.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> You mentioning the fact that we know a lot about axolotls because like some scientist in the lab…I think that’s the strange paradox: the axolotl in Mexico are at the brink of extinction yet they’re like one of the most popular animals in research labs around the world. Maybe it’s also an allegory for like Latinx culture: it’s consumed but then [Latinx] people are barely hanging on here in the City.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> Yeah, that makes sense. That makes sense, that dissecting us. They’re always yanking things off, like, ‘What’s this taste like?’ [laughs], Yeah, man. That’s that’s a good one. I like that.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> In the spirit of having, community members come in and share their cuentos and their words [at Medicine for Nightmares] I want to have you read one of your poems from your book, \u003ca href=\"https://www.blackfreighterpress.com/bfpcatalog/p/baby-axolotls-y-old-pochos\">Baby Axolotls & Old Pochos\u003c/a>…\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>(untitled)\u003cbr>\n\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>The rules for Español\u003c/strong>\u003cbr>\n\u003cstrong>en el caro or en la casa\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>the rules for Spanglish\u003c/strong>\u003cbr>\n\u003cstrong>near the front door or on certain playgrounds\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>the rules for English\u003c/strong>\u003cbr>\n\u003cstrong>near the Sizzler salad bar or when we talked about history\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>the rules for Nahuatl that I heard in mi dreams\u003c/strong>\u003cbr>\n\u003cstrong>pues no me acuerdo\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>mi accent goes way way back\u003c/strong>\u003cbr>\n\u003cstrong>and was not formed by the neighborhood I grew up in\u003c/strong>\u003cbr>\n\u003cstrong>or the place that mi familia is from\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>mi accent has been formed\u003c/strong>\u003cbr>\n\u003cstrong>by all those things about ourselves\u003c/strong>\u003cbr>\n\u003cstrong>that were not taught to us\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>by all those things that our ancestors were not allowed to say\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>mi accent has been formed by the forced violent migration\u003c/strong>\u003cbr>\n\u003cstrong>of our gente\u003c/strong>\u003cbr>\n\u003cstrong>by the mystical milagroso migration of our gente\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>along the way\u003c/strong>\u003cbr>\n\u003cstrong>along miles and years\u003c/strong>\u003cbr>\n\u003cstrong>between generations of talking blood and our children becoming our ancestors\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>we have peeled and transformed the idiomas that we have been given\u003c/strong>\u003cbr>\n\u003cstrong>so that we can believe what we are saying about ourselves\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>we’ve used what we’ve forgotten how to pronounce\u003c/strong>\u003cbr>\n\u003cstrong>without even knowing it\u003c/strong>\u003cbr>\n\u003cstrong>como constellations in el cielo\u003c/strong>\u003cbr>\n\u003cstrong>como slang directions to the party\u003c/strong>\u003cbr>\n\u003cstrong>como sagrado pronunciations of a ritual\u003c/strong>\u003cbr>\n\u003cstrong>como palabras that your abuelo spoke folded up in your corazon’s memorias\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>through no fault of our own mispronunciations\u003c/strong>\u003cbr>\n\u003cstrong>our tamales had one oliva each\u003c/strong>\u003cbr>\n\u003cstrong>with a hole in a hole in a hole\u003c/strong>\u003cbr>\n\u003cstrong>where what we were saying should have gone\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>cuando we were little\u003c/strong>\u003cbr>\n\u003cstrong>we spread the palabras out\u003c/strong>\u003cbr>\n\u003cstrong>on our Abuelita’s kitchen table\u003c/strong>\u003cbr>\n\u003cstrong>we’d mix the palabras up\u003c/strong>\u003cbr>\n\u003cstrong>with frijoles and tortillas that Abuelita would make for us\u003c/strong>\u003cbr>\n\u003cstrong>we could taste the history in what we were eating\u003c/strong>\u003cbr>\n\u003cstrong>we didn’t know what it was\u003c/strong>\u003cbr>\n\u003cstrong>we just knew it tasted good\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>that was when I learned\u003c/strong>\u003cbr>\n\u003cstrong>que the palabras that they give to us\u003c/strong>\u003cbr>\n\u003cstrong>no tienen sabor\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>the patron calls us another word for what we are\u003c/strong>\u003cbr>\n\u003cstrong>the religious man calls us another word for who we are\u003c/strong>\u003cbr>\n\u003cstrong>and so many of us end up believing them\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>si no los ponemos trucha\u003c/strong>\u003cbr>\n\u003cstrong>they’ll go ahead and lose us in-between the lines\u003c/strong>\u003cbr>\n\u003cstrong>they’ll go ahead and lose us in translation\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>¿can you pronounce yourself with the words that they have given you?\u003c/strong>\u003cbr>\n\u003cstrong>¿can you pronounce your cultura with the words that they have given you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>we can and do speak border because we have to\u003c/strong>\u003cbr>\n\u003cstrong>we can and do speak very clearly with our ancestor’s voices\u003c/strong>\u003cbr>\n\u003cstrong>I can speak just like mi Tia Vangie in a dream\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>I remember all of this\u003c/strong>\u003cbr>\n\u003cstrong>cuando I pronounce and mispronounce the palabras\u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> I picked that poem because I thought it spoke to this idea of identity formation and memory keeping, which I think a lot of your poems talk about. How do you see your poetry as a form of culture keeping?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> I mean, Black and brown poets, we’re historians. Art, for a lot of us, is all about survival and survival is history, is memoria. In a very small way my poesía is keeping track of us. Remembering the little things in the neighborhood.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Marisol:\u003c/strong> How do you think younger Josiah would feel about being here in the space as a co-owner alongside another poet [Tân Khánh Cao] owning a bookstore?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Josiah:\u003c/strong> It’s really silly, I always dreamed these dreams, but now that I’m doing it… like, how the hell did this happen? To flash forward and see the possibility that my book is going to be on the shelf and one of these strange, awkward little Latinx test tube babies is going to come in and pick it up and hopefully read something in there that connects ‘em… that’s a beautiful thing. If my poetry could do that to somebody, I think I got what I was supposed to do.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13932147/pocho-poet-josiah-luis-alderete-speaks-fire-in-the-mission","authors":["11528"],"programs":["arts_8720"],"categories":["arts_1","arts_21759"],"tags":["arts_928","arts_3419","arts_1118","arts_1332","arts_1257","arts_1496","arts_6764","arts_16816"],"featImg":"arts_13910045","label":"source_arts_13932147"},"arts_13931355":{"type":"posts","id":"arts_13931355","meta":{"index":"posts_1591205157","site":"arts","id":"13931355","score":null,"sort":[1689270344000]},"guestAuthors":[],"slug":"michael-sneed-is-more-than-a-vibe-hes-a-symbol-for-oakland","title":"Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland","publishDate":1689270344,"format":"standard","headTitle":"Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Walking around 15th Street in Oakland on a Friday afternoon — past beloved eateries like Minto’s Jamaican Restaurant & Bar, Baba’s House and Hoza Pizzeria — reminds me of what makes the Bay Area such a vibrant, lively place to be.\u003c/p>\n\u003cp>The region is also struggling: we’ve made headlines in recent months for crime, the fentanyl crisis and other challenges. Many of those criticisms are arguably hyperbolized, or oversimplifications of social issues with systemic root causes. But there are undoubtedly real shortcomings that make it difficult for longtime residents, particularly creatives and working- and middle-class families, to thrive.\u003c/p>\n\u003cp>Personally, I’ve grappled with what it means to be from a place that doesn’t have many accessible spaces left, and I wonder about the psychological consequences of that daily erasure. It’s no secret that Bay Area cities \u003ca href=\"https://www.cnbc.com/2023/05/26/most-expensive-cities-to-raise-a-child-in-the-us.html\">regularly lead the nation as the most expensive zip codes\u003c/a> in which to raise a family.\u003c/p>\n\u003cp>Michael Sneed — an East Oakland rapper, producer and vocalist — explores this reality on his latest EP, \u003ci>Junior Varsity Blues\u003c/i>. The record is a poetic manifesto, colored by jaded grief about displacement and his changing community. But he doesn’t shy away from expressing his hometown pride, either. Having started rapping at age 15, the 24-year-old is now unlocking his vocal superpowers to share narratives about Black joy, personal malaise, reclamation, nostalgia and the importance of friendships amid the swirling chaos of tech-fueled capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13880362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13880362 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg\" alt=\"three young men sit on a sofa in a music studio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed (center) at Different Fur Studios in San Francisco with Mikos da Gawd (left) and WADE08 (right). \u003ccite>(Erin Conger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sneed grew up in the 100s section of Deep East Oakland with his parents and older sisters. He lives on a block that is still predominantly Black, where close-knit families support each other. He’s fortunate, Sneed tells me. But for many lifelong Oaklanders, particularly Black, Latinx and Pacific Islanders, \u003ca href=\"https://bayareaequityatlas.org/node/65531\">the city’s dramatic shifts have made it nearly impossible to remain.\u003c/a>\u003c/p>\n\u003cp>It’s not news that the Bay Area’s inequities disproportionately affect the Black community. “The slow churn of the erasure of the region’s historic communities that birthed the Black Panther Party and raised the likes of Maya Angelou and Etta James is well underway,” \u003ca href=\"https://capitalbnews.org/climate-reparations-bay-area/\">writes Adam Mahoney\u003c/a>, in a piece on climate reparations, reporting that the nine-county region’s Black population has decreased by 20% since 1990, while the total population has grown by 25%.\u003c/p>\n\u003cp>As we wander downtown Oakland, Sneed recalls the city he grew up in, and what he most misses about it: poetry slams and open mics for youth, Monta Ellis on the Golden State Warriors, and most importantly, his peers and friends who have had to move away.\u003c/p>\n\u003cfigure id=\"attachment_13931359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/michaelsneed_JY_016-800x533.jpg\" alt=\"A young Oakland rapper leans against a wall in Oakland on a sunny day\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed poses for a portrait in Oakland. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one has been immediately displaced in my family, but I’ve had peers who can’t find housing because it’s too expensive,” he says. “There’s no reason why there should be people houseless on freeways in tents. It shouldn’t be a thing. The whole purpose of having a government is to prevent that and to protect the people, especially if you have a government with as much money as the United States and California. There’s no reason.”\u003c/p>\n\u003cp>Following a\u003ca href=\"https://www.youtube.com/watch?v=8BAPTZcMtMI\"> song collaboration and high-profile tour with P-Lo,\u003c/a> Sneed returned to The Town more attuned than ever to what makes the Bay Area simultaneously special and intolerable. A particularly poignant example of his gospel-inspired sound is “\u003ca href=\"https://www.youtube.com/watch?v=MGuS7hnPNyc\">Paw Patrol\u003c/a>,” accompanied by a music video filmed in his neighborhood that evokes a homely retro vibe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MGuS7hnPNyc\u003c/p>\n\u003cp>Forced migration and gentrification are prevalent themes in his music, especially on tracks like \u003ca href=\"https://www.kqed.org/news/11940879/michael-sneed-city\">“City,” which outline the rapper’s frustrations with houselessness and unaffordable rents. \u003c/a>With a high-pitched voice that many have compared to Chicago’s Chance the Rapper, Sneed weaves in and out of intonations with a choir-trained precision that borders on falsetto, presenting a simple but profound question as the song’s hook: “Ayo the block don’t look the same as it used to, where my city go?”\u003c/p>\n\u003cp>Combined with deep reflections about his family’s health (most notably, the painful loss of his grandmother and aunt), the birth of his niece, playing basketball as a teenager, and criticisms of the tech industry, the seven-track project presents a layered portrait of a young, Black man who graduated from Howard University who is living as joyfully as he can under the crushing weight of Northern California’s demands. It’s a theme many local artists have explored in their music. But with Sneed, there’s a touch of theatrics and a goofy lovability that’s rare in East Oakland rap.\u003c/p>\n\u003cp>One of the album’s standout singles, “The Answer,” draws from the artist’s love of hoops (functioning as a reference to the iconic point guard, Allen Iverson, who was known as both A.I. and The Answer in his playing days) while expressing his flamboyance with clever wordplay: “When I was five I used to get in trouble for coloring out of the lines/ why if you colored they want you to stay in the line/ I feel like A.I. up in his prime.” The video, which is titled “the world’s first A.I. music video,” reached 16,000 views in one month (and no, it is not the world’s first A.I. music video).\u003c/p>\n\u003cfigure id=\"attachment_13925558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed performs at Brick and Mortar Music Hall in San Francisco on Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t thinking of \u003ca href=\"https://www.kqed.org/arts/13928457/chatgpt-says-these-are-the-best-bay-area-rap-albums-of-all-time\">artificial intelligence \u003c/a>at all,” Sneed tells me inside The Hatch, a Black-owned bar in the city, while sipping on a non-alcoholic lemonade. “That song to me is kind of using Allen Iverson as this guy who did his own thing. He wore the baggy shorts, the gold chains. He said ‘I’m gonna be so hip-hop that it makes you uncomfortable.’ And he was almost punished because of that. [This song is about] using him, or his avatar, as a way to highlight Black men like that.”\u003c/p>\n\u003cp>“A.I. was so fearless and unapologetically himself and hip-hop, and it kind of gave athletes [and] people of the culture in general freedom to express themselves in spaces that aren’t necessarily hip-hop or basketball,” he continues. “That’s tight about him. I don’t think he gets enough props for that. In a way, he was postmodernist.”\u003c/p>\n\u003cp>Basketball is a major element of \u003cem>Junior Varsity Blues\u003c/em>, with fictional skits of a team tryout peppering the 23-minute project. It’s the only sport Sneed grew up playing, and it’s how he bonded with his peers and family members. For an artsy kid, it gave him an unexpected outlet.\u003c/p>\n\u003cp>“Even though I wasn’t good, it was important to me,” he admits. “I was always daydreaming, never paying attention. I dressed goofy. I showed up [to play basketball] in church socks. But it’s how I met a lot of friends in high school.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VwCgGd-dDn0\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>With \u003ca href=\"https://www.theringer.com/nba-draft/2023/3/28/23657469/amen-ausar-thompson-twins-2023-nba-draft-overtime-elite\">his younger twin cousins recently entering the NBA as nationally touted prospects\u003c/a>, Sneed appreciates what athletics can provide for a community. But he doesn’t overly glamorize the sport, either. His music regularly veers into his more niche interests — like anime (which his Nickelodeon’s \u003cem>Avatar\u003c/em>-inspired tagline, “Yip! Yip!” makes clear in every verse) and Broadway musical productions like \u003ci>The Lion King\u003c/i> and \u003ci>Wicked \u003c/i>(his EP features a song titled “WICKED”).\u003c/p>\n\u003cp>Despite his introspective nerdisms, though, it’s not all “\u003ca href=\"https://www.youtube.com/watch?v=poIXEf0k9oo\">Hula Hoop\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=6BJPSKr0DBQ\">Hopscotch\u003c/a>” games for Sneed. Beyond the lighthearted inner child hardwired into his raps, his songs inevitably return to heavy subject matter, like contemplating the death of Black Panther Party leaders, having emotional withdrawals while withdrawing money from the bank and losing faith in God over slow-paced, self-produced instrumentals. Songs like “It’s Impossible! It’s a Miracle!” serve as cathartic hymnals, presenting the rapper in his most vulnerable state as he rattles off a litany of impossible life challenges.\u003c/p>\n\u003cp>“There was so much adversity [at the time of writing the song]. Mending felt like it would be a miracle,” Sneed says. “I’m only myself because of how hard things can be. I need someone to tell me it’ll be alright. I’m always trying to put that in my music. It’s really just me speaking to myself. If my words can help someone else through those tough Monday mornings, then alright. That’s powerful. It’s to help me, and to help others.”\u003c/p>\n\u003cfigure id=\"attachment_13931357\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/michaelsneed_JY_004-800x533.jpg\" alt=\"A young Oakland rapper leans against the glass window outside of the Fox Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in front of the Fox Theatre. Sneed grew up consuming theatre and his roots now influence his music. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently an unsigned artist, the ascendant Oaklander is considering a move to Los Angeles, where other successful East Bay artists like Kehlani, G Eazy and P-Lo have already relocated. It’s relatively common for Bay Area artists — particularly rappers — to leave the Bay. There’s a cross-national migratory route to Atlanta that has been popularized by Too $hort and Iamsu!. And, of course there’s New York City, which is the current residence of \u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurreccion\u003c/a> and serves as a part-time getaway for \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">Ovrkast., one of Sneed’s best friends\u003c/a> and closest collaborators. \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">It’s a phenomenon that KQED’s Pendarvis Harshaw once dubbed “\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\">the role of the Bay Area expatriate\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">” in music.\u003c/a>\u003c/p>\n\u003cp>Even if Sneed can’t afford to remain in his city of birth, or feels like artistic opportunities are greater elsewhere, he plans to stay connected to his home in the East Bay. He’s done it before, when he left Oakland for Washington D.C. to attend university, then came back. The temporary move expanded his sense of self and place, bolstering his appreciation — and complex understanding — for his return.\u003c/p>\n\u003cp>Regardless of wherever Sneed lands, he’ll take East Oakland with him. As he declares on “WICKED,” “I’m not a vibe, I’m a symbol to my city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Michael Sneed’s \u003ca href=\"https://open.spotify.com/album/1SIeFvO8So4ow0vcFosVQ6\">‘Junior Varsity Blues’ \u003c/a> is available on all streaming platforms. His recent tourmate, P-Lo, will be at \u003ca href=\"https://twitter.com/p_lo/status/1676792144466710528\">STUNNA’s Shop at Stashed SF\u003c/a> (2360 3rd St., SF) on Sat., July 15 from 4 – 8 p.m. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"On ‘Junior Varsity Blues,’ the ascendant rapper-producer grapples with the changing face of his hometown.","status":"publish","parent":0,"modified":1705005280,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":26,"wordCount":1863},"headData":{"title":"Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland | KQED","description":"On ‘Junior Varsity Blues,’ the ascendant rapper-producer grapples with the changing face of his hometown.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Michael Sneed Is More Than a Vibe — He’s a Symbol for Oakland","datePublished":"2023-07-13T17:45:44.000Z","dateModified":"2024-01-11T20:34:40.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931355/michael-sneed-is-more-than-a-vibe-hes-a-symbol-for-oakland","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walking around 15th Street in Oakland on a Friday afternoon — past beloved eateries like Minto’s Jamaican Restaurant & Bar, Baba’s House and Hoza Pizzeria — reminds me of what makes the Bay Area such a vibrant, lively place to be.\u003c/p>\n\u003cp>The region is also struggling: we’ve made headlines in recent months for crime, the fentanyl crisis and other challenges. Many of those criticisms are arguably hyperbolized, or oversimplifications of social issues with systemic root causes. But there are undoubtedly real shortcomings that make it difficult for longtime residents, particularly creatives and working- and middle-class families, to thrive.\u003c/p>\n\u003cp>Personally, I’ve grappled with what it means to be from a place that doesn’t have many accessible spaces left, and I wonder about the psychological consequences of that daily erasure. It’s no secret that Bay Area cities \u003ca href=\"https://www.cnbc.com/2023/05/26/most-expensive-cities-to-raise-a-child-in-the-us.html\">regularly lead the nation as the most expensive zip codes\u003c/a> in which to raise a family.\u003c/p>\n\u003cp>Michael Sneed — an East Oakland rapper, producer and vocalist — explores this reality on his latest EP, \u003ci>Junior Varsity Blues\u003c/i>. The record is a poetic manifesto, colored by jaded grief about displacement and his changing community. But he doesn’t shy away from expressing his hometown pride, either. Having started rapping at age 15, the 24-year-old is now unlocking his vocal superpowers to share narratives about Black joy, personal malaise, reclamation, nostalgia and the importance of friendships amid the swirling chaos of tech-fueled capitalism.\u003c/p>\n\u003cfigure id=\"attachment_13880362\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13880362 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg\" alt=\"three young men sit on a sofa in a music studio\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-800x533.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-160x107.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-768x512.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1020x680.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Holiday18-preview_090-1920x1280.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed (center) at Different Fur Studios in San Francisco with Mikos da Gawd (left) and WADE08 (right). \u003ccite>(Erin Conger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sneed grew up in the 100s section of Deep East Oakland with his parents and older sisters. He lives on a block that is still predominantly Black, where close-knit families support each other. He’s fortunate, Sneed tells me. But for many lifelong Oaklanders, particularly Black, Latinx and Pacific Islanders, \u003ca href=\"https://bayareaequityatlas.org/node/65531\">the city’s dramatic shifts have made it nearly impossible to remain.\u003c/a>\u003c/p>\n\u003cp>It’s not news that the Bay Area’s inequities disproportionately affect the Black community. “The slow churn of the erasure of the region’s historic communities that birthed the Black Panther Party and raised the likes of Maya Angelou and Etta James is well underway,” \u003ca href=\"https://capitalbnews.org/climate-reparations-bay-area/\">writes Adam Mahoney\u003c/a>, in a piece on climate reparations, reporting that the nine-county region’s Black population has decreased by 20% since 1990, while the total population has grown by 25%.\u003c/p>\n\u003cp>As we wander downtown Oakland, Sneed recalls the city he grew up in, and what he most misses about it: poetry slams and open mics for youth, Monta Ellis on the Golden State Warriors, and most importantly, his peers and friends who have had to move away.\u003c/p>\n\u003cfigure id=\"attachment_13931359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931359\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/michaelsneed_JY_016-800x533.jpg\" alt=\"A young Oakland rapper leans against a wall in Oakland on a sunny day\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_016-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed poses for a portrait in Oakland. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“No one has been immediately displaced in my family, but I’ve had peers who can’t find housing because it’s too expensive,” he says. “There’s no reason why there should be people houseless on freeways in tents. It shouldn’t be a thing. The whole purpose of having a government is to prevent that and to protect the people, especially if you have a government with as much money as the United States and California. There’s no reason.”\u003c/p>\n\u003cp>Following a\u003ca href=\"https://www.youtube.com/watch?v=8BAPTZcMtMI\"> song collaboration and high-profile tour with P-Lo,\u003c/a> Sneed returned to The Town more attuned than ever to what makes the Bay Area simultaneously special and intolerable. A particularly poignant example of his gospel-inspired sound is “\u003ca href=\"https://www.youtube.com/watch?v=MGuS7hnPNyc\">Paw Patrol\u003c/a>,” accompanied by a music video filmed in his neighborhood that evokes a homely retro vibe.\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/MGuS7hnPNyc'\n title='//www.youtube.com/embed/MGuS7hnPNyc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Forced migration and gentrification are prevalent themes in his music, especially on tracks like \u003ca href=\"https://www.kqed.org/news/11940879/michael-sneed-city\">“City,” which outline the rapper’s frustrations with houselessness and unaffordable rents. \u003c/a>With a high-pitched voice that many have compared to Chicago’s Chance the Rapper, Sneed weaves in and out of intonations with a choir-trained precision that borders on falsetto, presenting a simple but profound question as the song’s hook: “Ayo the block don’t look the same as it used to, where my city go?”\u003c/p>\n\u003cp>Combined with deep reflections about his family’s health (most notably, the painful loss of his grandmother and aunt), the birth of his niece, playing basketball as a teenager, and criticisms of the tech industry, the seven-track project presents a layered portrait of a young, Black man who graduated from Howard University who is living as joyfully as he can under the crushing weight of Northern California’s demands. It’s a theme many local artists have explored in their music. But with Sneed, there’s a touch of theatrics and a goofy lovability that’s rare in East Oakland rap.\u003c/p>\n\u003cp>One of the album’s standout singles, “The Answer,” draws from the artist’s love of hoops (functioning as a reference to the iconic point guard, Allen Iverson, who was known as both A.I. and The Answer in his playing days) while expressing his flamboyance with clever wordplay: “When I was five I used to get in trouble for coloring out of the lines/ why if you colored they want you to stay in the line/ I feel like A.I. up in his prime.” The video, which is titled “the world’s first A.I. music video,” reached 16,000 views in one month (and no, it is not the world’s first A.I. music video).\u003c/p>\n\u003cfigure id=\"attachment_13925558\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925558\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.--1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Michael-Sneed-performs-at-Brick-and-Mortar-Music-Hall-in-San-Francisco-on-Wednesday-Wednesday-Feb.-22-2023.-.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Michael Sneed performs at Brick and Mortar Music Hall in San Francisco on Feb. 22, 2023. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I wasn’t thinking of \u003ca href=\"https://www.kqed.org/arts/13928457/chatgpt-says-these-are-the-best-bay-area-rap-albums-of-all-time\">artificial intelligence \u003c/a>at all,” Sneed tells me inside The Hatch, a Black-owned bar in the city, while sipping on a non-alcoholic lemonade. “That song to me is kind of using Allen Iverson as this guy who did his own thing. He wore the baggy shorts, the gold chains. He said ‘I’m gonna be so hip-hop that it makes you uncomfortable.’ And he was almost punished because of that. [This song is about] using him, or his avatar, as a way to highlight Black men like that.”\u003c/p>\n\u003cp>“A.I. was so fearless and unapologetically himself and hip-hop, and it kind of gave athletes [and] people of the culture in general freedom to express themselves in spaces that aren’t necessarily hip-hop or basketball,” he continues. “That’s tight about him. I don’t think he gets enough props for that. In a way, he was postmodernist.”\u003c/p>\n\u003cp>Basketball is a major element of \u003cem>Junior Varsity Blues\u003c/em>, with fictional skits of a team tryout peppering the 23-minute project. It’s the only sport Sneed grew up playing, and it’s how he bonded with his peers and family members. For an artsy kid, it gave him an unexpected outlet.\u003c/p>\n\u003cp>“Even though I wasn’t good, it was important to me,” he admits. “I was always daydreaming, never paying attention. I dressed goofy. I showed up [to play basketball] in church socks. But it’s how I met a lot of friends in high school.”\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/VwCgGd-dDn0'\n title='//www.youtube.com/embed/VwCgGd-dDn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>With \u003ca href=\"https://www.theringer.com/nba-draft/2023/3/28/23657469/amen-ausar-thompson-twins-2023-nba-draft-overtime-elite\">his younger twin cousins recently entering the NBA as nationally touted prospects\u003c/a>, Sneed appreciates what athletics can provide for a community. But he doesn’t overly glamorize the sport, either. His music regularly veers into his more niche interests — like anime (which his Nickelodeon’s \u003cem>Avatar\u003c/em>-inspired tagline, “Yip! Yip!” makes clear in every verse) and Broadway musical productions like \u003ci>The Lion King\u003c/i> and \u003ci>Wicked \u003c/i>(his EP features a song titled “WICKED”).\u003c/p>\n\u003cp>Despite his introspective nerdisms, though, it’s not all “\u003ca href=\"https://www.youtube.com/watch?v=poIXEf0k9oo\">Hula Hoop\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=6BJPSKr0DBQ\">Hopscotch\u003c/a>” games for Sneed. Beyond the lighthearted inner child hardwired into his raps, his songs inevitably return to heavy subject matter, like contemplating the death of Black Panther Party leaders, having emotional withdrawals while withdrawing money from the bank and losing faith in God over slow-paced, self-produced instrumentals. Songs like “It’s Impossible! It’s a Miracle!” serve as cathartic hymnals, presenting the rapper in his most vulnerable state as he rattles off a litany of impossible life challenges.\u003c/p>\n\u003cp>“There was so much adversity [at the time of writing the song]. Mending felt like it would be a miracle,” Sneed says. “I’m only myself because of how hard things can be. I need someone to tell me it’ll be alright. I’m always trying to put that in my music. It’s really just me speaking to myself. If my words can help someone else through those tough Monday mornings, then alright. That’s powerful. It’s to help me, and to help others.”\u003c/p>\n\u003cfigure id=\"attachment_13931357\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13931357\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/michaelsneed_JY_004-800x533.jpg\" alt=\"A young Oakland rapper leans against the glass window outside of the Fox Theater\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/michaelsneed_JY_004-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area rapper Michael Sneed poses for a portrait in front of the Fox Theatre. Sneed grew up consuming theatre and his roots now influence his music. \u003ccite>(Juliana Yamada)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently an unsigned artist, the ascendant Oaklander is considering a move to Los Angeles, where other successful East Bay artists like Kehlani, G Eazy and P-Lo have already relocated. It’s relatively common for Bay Area artists — particularly rappers — to leave the Bay. There’s a cross-national migratory route to Atlanta that has been popularized by Too $hort and Iamsu!. And, of course there’s New York City, which is the current residence of \u003ca href=\"https://www.instagram.com/reyresurreccion/?hl=en\">Rey Resurreccion\u003c/a> and serves as a part-time getaway for \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">Ovrkast., one of Sneed’s best friends\u003c/a> and closest collaborators. \u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">It’s a phenomenon that KQED’s Pendarvis Harshaw once dubbed “\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13846175/ian-kelly-and-the-role-of-the-bay-area-expatriate\">the role of the Bay Area expatriate\u003c/a>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">” in music.\u003c/a>\u003c/p>\n\u003cp>Even if Sneed can’t afford to remain in his city of birth, or feels like artistic opportunities are greater elsewhere, he plans to stay connected to his home in the East Bay. He’s done it before, when he left Oakland for Washington D.C. to attend university, then came back. The temporary move expanded his sense of self and place, bolstering his appreciation — and complex understanding — for his return.\u003c/p>\n\u003cp>Regardless of wherever Sneed lands, he’ll take East Oakland with him. As he declares on “WICKED,” “I’m not a vibe, I’m a symbol to my city.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Michael Sneed’s \u003ca href=\"https://open.spotify.com/album/1SIeFvO8So4ow0vcFosVQ6\">‘Junior Varsity Blues’ \u003c/a> is available on all streaming platforms. His recent tourmate, P-Lo, will be at \u003ca href=\"https://twitter.com/p_lo/status/1676792144466710528\">STUNNA’s Shop at Stashed SF\u003c/a> (2360 3rd St., SF) on Sat., July 15 from 4 – 8 p.m. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931355/michael-sneed-is-more-than-a-vibe-hes-a-symbol-for-oakland","authors":["11748"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_11374","arts_5786","arts_8505","arts_10278","arts_1332","arts_7321","arts_1143","arts_1803","arts_1401","arts_3478"],"featImg":"arts_13931358","label":"arts"},"arts_13926133":{"type":"posts","id":"arts_13926133","meta":{"index":"posts_1591205157","site":"arts","id":"13926133","score":null,"sort":[1678819480000]},"guestAuthors":[],"slug":"muni-raised-me-somarts-san-francisco","title":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco","publishDate":1678819480,"format":"standard","headTitle":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Almost every longtime Bay Area resident has their favorite Muni route. For me, it’s the 38, the bus that starts downtown, then cruises past the Fillmore and Japantown to the Richmond District. When I exit through the back doors and into the heart of San Francisco’s Russian-speaking immigrant neighborhood, the smells of church frankincense and fresh rye bread awaken some of my favorite childhood memories.\u003c/p>\n\u003cp>As an immigrant kid growing up in the East Bay, my family’s frequent trips to San Francisco anchored me in my cultural identity. So I felt an instant connection to the intimate, poetic way 13 San Francisco-born-and-raised artists approach city life and public transit in the new group exhibition \u003ca href=\"https://somarts.org/event/muniraisedme/\">\u003ci>Muni Raised Me\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>In the SOMArts show curated by Meymey Lee, \u003ca href=\"http://www.sashavu.com/\">Sasha Vu\u003c/a> and Celi Tamayo-Lee, bus lines are the arteries that connect immigrant, Black and working-class neighborhoods — the heart and soul of San Francisco culture. The multicultural crew of artists tells collective and personal histories through installations, paintings, audio and video. In the context of record-shattering rent prices and ongoing displacement, their memories feel like precious keepsakes.\u003c/p>\n\u003cp>The centerpiece in SOMArts’ high-ceilinged, warehouse gallery is \u003ci>Altared SF\u003c/i> by Sasha Vu and Ling Ling Lee, a real-life, decommissioned Muni bus turned into a temple with an original soundtrack of beats by Vu’s brother, Ben Vu. The \u003ci>Magic School Bus\u003c/i>-esque, psychedelic ride transports viewers with its maximalist assemblages of objects, each one evoking a different San Francisco cultural touchpoint.\u003c/p>\n\u003cp>As I took in the hippie-raver curios, Buddhist statues and rainbow decorations, I arrived at a quiet moment of contemplation. In the back, an altar honors victims of police brutality, including Mario Woods and Alex Nieto, whose deaths galvanized San Francisco’s movement for police accountability over the past decade. Like much of \u003ci>Muni Raised Me\u003c/i>, the piece feels joyful yet grounded in a sobering reality.\u003c/p>\n\u003cfigure id=\"attachment_13926157\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-3.jpg\" alt=\"A circular passageway decorated with plants and rainbows ending in an altar\" width=\"1920\" height=\"1269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-1536x1015.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A view inside ‘Altared SF’ by Sasha Vu and Ling Ling Lee. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art in \u003ci>Muni Raised Me\u003c/i> mimics the texture and aliveness of the City. Music videos by local artists such as Qing Qi, La Doña, A-1 and Baghead bring a house party soundtrack. Ben Vu’s short film \u003ci>All That and Dim Sum\u003c/i> radiates warmth, reminding us that San Francisco is also a city of families who eat dumplings together on Sundays — not just individualistic strivers. Sophia Mitty’s custom embroidery on jackets tells stories through workwear-inspired fashion. And tanea lunsford lynx’s installation, a listening booth collaged with family photos, plays poems about connection, loss and longing from her point of view as a fourth-generation Black San Franciscan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ci>Muni Raised Me\u003c/i> feels intentional and full of care, which falls in line with the three curators’ mission to be of service. Outside of their art practices, Vu and Lee are both educators, and Tamayo-Lee is the co-director of \u003ca href=\"https://www.sfrising.org/\">San Francisco Rising\u003c/a>, an organization that aims to politically empower working class people of color. I spoke with them about their vision for the show, their favorite Muni routes and how they managed to fit a real bus into a gallery.\u003c/p>\n\u003cp>[aside postid='arts_13925483']\u003ci>This conversation has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Nastia Voynovskaya: I was struck by how so many of the artists involved are also organizers and educators who pour themselves into their community. What does that say to you about the art scene in San Francisco?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu\u003c/b>: That’s a fascinating question because I feel like it really speaks to specifically this art show, not so much the larger art scene in San Francisco. So many of the folks I know who stayed in the City, who have grown up here, have had to balance their identity as artists with other professions, especially if you’re a local up-and-coming artist. Then I think also looking at the world through the artistic lens, it really lends itself to seeing various cracks and injustices, which therefore puts you in a place where you’re like, “How can I have my art better serve the community? How can my being better serve the community?”\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> Public institutions are the things that raised us, so public transit, public schools and public parks. I think we really benefited from a really robust civil infrastructure. That really does speak to a San Francisco spirit, a very service-oriented sense of giving back to the city that raised us.\u003c/p>\n\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> [\u003ci>Muni Raised Me\u003c/i> is] a huge shoutout to the bus drivers, the teachers, the after-school caregivers, the volunteers who worked during recess or helped us cross the street. In so many ways, we spent more time with those adults than some of our own parents. And I think for me, there’s a feeling of just wanting to re-seed that in today’s youth and share that love that we’ve been given, and getting to be that cool, weird, funky adult. It’s a piece of pride for a lot of us.\u003c/p>\n\u003cfigure id=\"attachment_13926158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-5.jpg\" alt=\"Handmade black and white jacket with symbols of city life embroidered\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the garments in Sophia Mitty’s installation ‘Ode to SF,’ on view in ‘Muni Raised Me’ at SOMArts. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So many of the pieces in the show feel nostalgic and centered on childhood memories. What’s the importance of that to you as curators and artists?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> So much of this show is pulling from a deep-seated nostalgia that really comes from having roots here. It’s an accumulation of 20 to 40 years of being in the same place. Being able to pull from childhood is such a unique lens because there are so many people here who didn’t grow up here, who are transplants in various ways and will never see the city through the same lens that we see it. And this is kind of offering a peek into that world.\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> I felt nostalgia when I was like 17. Nostalgia is such a forced emotion when you grow up in San Francisco because the change has just been so rapid and incredible. And maybe that’s just the nature of cities. But also there was definitely a malicious edge to it, you know, watching the tech industry come in, watching so many working-class families leave — so many of our friends and family. There’s a lot of sadness. We wanted to honor the pride and the sadness and the joy we have here.\u003c/p>\n\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> And to romanticize the ’90s in San Francisco. It was coming off the coattails of the AIDS epidemic and the war on drugs. There was such a vivacious and growing queer community. I felt like my childhood was very infused with a lot of music and art and street festivals and free concerts in the park. I feel like it takes a lot more effort to find that and build that nowadays.\u003c/p>\n\u003cfigure id=\"attachment_13926159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-6.jpg\" alt=\"Colorful collage of bus tickets with text about Halloween in the Castro\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A close-up of the family photos in tanea lunsford lynx’s oral history audio installation, ‘I Used to Live Here.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It seems like collaboration played a pretty big role on the show, in some of the pieces themselves and also in your process as the three curators. Could you tell me a little bit about that and how it relates to the spirit of this exhibit?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> So much of this show has been really about looking around and realizing that I’m in community with so many amazing people, artists and educators and curators that don’t really have a place to shine. So many of the artists we’ve known since high school. I’ve known Sasha since I was five and Celi since middle school. Having these relationships that go really far back has definitely been the backbone and the saving grace. It’s been so amazing to see these wonderful people in a whole new light.\u003c/p>\n\u003cp>[aside postid='arts_13925416']\u003cb>Celi Tamayo-Lee:\u003c/b> I think it was also a beautiful process of learning about each other outside of just being friends. Mey was like, “You know what? Like, screw it. I’m just going to try and apply to [SOMArts’ Curatorial Residency Program]. Here is my vision.” And we were like, “OK, we will follow you.” A third of the gallery is pieces by Sasha. Sasha has just had that artistic ambition to bring a lot of her skills and vision to a single place. I was the admin dom in terms of, “Are we meeting deadlines? Are we crossing our t’s dotting our i’s?” Learning how to work together has also just been like a big part of community building.\u003c/p>\n\u003cp>\u003cb>Sasha, could you tell me about the bus?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> My initial idea was like, maybe we can laser cut a bus and paint it, like a mini bus. But Celi was able to call someone who knew somebody who was able to get us in touch with the SFMTA. And we were able to have the bus donated. That was a huge blessing, completely unexpected in so many ways. And it became the centerpiece of the show.\u003c/p>\n\u003cp>A lot of love and planning and time was poured into the bus. We’re showing our vision of the temple bus, the altar bus, the ultimate psychedelic bus experience. And in so many ways it’s the true bus, the bus of our deep consciousness. I did the exterior art on the bus. And Ling Ling [Lee], who is Mey’s sibling and my close friend, designed a lot of the interior. The bus is meant to be a transformative piece that really ties together all of the nostalgia of the past with the possibilities of the future.\u003c/p>\n\u003cfigure id=\"attachment_13926161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-1.jpg\" alt=\"Close-up view of plants and photographs in altar arrangement\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A close-up shot of the altar aboard ‘Altared SF’ by Sasha Vu and Ling Ling Lee. The photo on the left features Alex Nieto, who was killed by San Francisco police in 2014. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Before we wrap up, what are some of your favorite bus lines and destinations on them?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> I’ll talk about the 44 because that’s basically how I met my best friend. She grew up in the Bayview. The 44 goes from the Bayview to Geary and California, it traverses the city. It’s such a journey. We would see each other in the morning, we would wait for the bus together after school. These were the moments that solidified our connection. She’s been my best friend for the past 15 years, and I really have the 44 to thank for that. And some locations along the 44 — Green Apple Books. Hing Wang Bakery on 9th and Judah. Yeah. Golden Gate Park. We would all go to the arboretum after school.\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> For me the line I took home was the K Ingleside. It travels a very foggy, liminal route unreached by a lot of other buses. I grew up in the Mission and Ingleside, but during high school my family was in Ingleside. I would take the bus from my house to Castro and I’d get a slice of pizza at Marcello’s. And then I would walk down to Dolores Park, where all the homies were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>‘Muni Raised Me’ is on view at SOMArts through April 9, 2023. \u003ca href=\"https://somarts.org/event/muniraisedme/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"The curators of SOMArts' new group show tell us how they fit a bus into a gallery and why nostalgia matters.","status":"publish","parent":0,"modified":1705005745,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1962},"headData":{"title":"‘Muni Raised Me’ Review: An Ode to Working-Class San Francisco | KQED","description":"The curators of SOMArts' new group show tell us how they fit a bus into a gallery and why nostalgia matters.","ogTitle":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco","ogDescription":"","ogImgId":"","twTitle":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco","twDescription":"","twImgId":"","socialTitle":"‘Muni Raised Me’ Review: An Ode to Working-Class San Francisco %%page%% %%sep%% KQED","schema":{"@context":"http://schema.org","@type":"Article","headline":"All Aboard ‘Muni Raised Me,’ SOMArts’ Ode to Working-Class San Francisco","datePublished":"2023-03-14T18:44:40.000Z","dateModified":"2024-01-11T20:42:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926133/muni-raised-me-somarts-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost every longtime Bay Area resident has their favorite Muni route. For me, it’s the 38, the bus that starts downtown, then cruises past the Fillmore and Japantown to the Richmond District. When I exit through the back doors and into the heart of San Francisco’s Russian-speaking immigrant neighborhood, the smells of church frankincense and fresh rye bread awaken some of my favorite childhood memories.\u003c/p>\n\u003cp>As an immigrant kid growing up in the East Bay, my family’s frequent trips to San Francisco anchored me in my cultural identity. So I felt an instant connection to the intimate, poetic way 13 San Francisco-born-and-raised artists approach city life and public transit in the new group exhibition \u003ca href=\"https://somarts.org/event/muniraisedme/\">\u003ci>Muni Raised Me\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>In the SOMArts show curated by Meymey Lee, \u003ca href=\"http://www.sashavu.com/\">Sasha Vu\u003c/a> and Celi Tamayo-Lee, bus lines are the arteries that connect immigrant, Black and working-class neighborhoods — the heart and soul of San Francisco culture. The multicultural crew of artists tells collective and personal histories through installations, paintings, audio and video. In the context of record-shattering rent prices and ongoing displacement, their memories feel like precious keepsakes.\u003c/p>\n\u003cp>The centerpiece in SOMArts’ high-ceilinged, warehouse gallery is \u003ci>Altared SF\u003c/i> by Sasha Vu and Ling Ling Lee, a real-life, decommissioned Muni bus turned into a temple with an original soundtrack of beats by Vu’s brother, Ben Vu. The \u003ci>Magic School Bus\u003c/i>-esque, psychedelic ride transports viewers with its maximalist assemblages of objects, each one evoking a different San Francisco cultural touchpoint.\u003c/p>\n\u003cp>As I took in the hippie-raver curios, Buddhist statues and rainbow decorations, I arrived at a quiet moment of contemplation. In the back, an altar honors victims of police brutality, including Mario Woods and Alex Nieto, whose deaths galvanized San Francisco’s movement for police accountability over the past decade. Like much of \u003ci>Muni Raised Me\u003c/i>, the piece feels joyful yet grounded in a sobering reality.\u003c/p>\n\u003cfigure id=\"attachment_13926157\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926157\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-3.jpg\" alt=\"A circular passageway decorated with plants and rainbows ending in an altar\" width=\"1920\" height=\"1269\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-1020x674.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-3-1536x1015.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A view inside ‘Altared SF’ by Sasha Vu and Ling Ling Lee. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The art in \u003ci>Muni Raised Me\u003c/i> mimics the texture and aliveness of the City. Music videos by local artists such as Qing Qi, La Doña, A-1 and Baghead bring a house party soundtrack. Ben Vu’s short film \u003ci>All That and Dim Sum\u003c/i> radiates warmth, reminding us that San Francisco is also a city of families who eat dumplings together on Sundays — not just individualistic strivers. Sophia Mitty’s custom embroidery on jackets tells stories through workwear-inspired fashion. And tanea lunsford lynx’s installation, a listening booth collaged with family photos, plays poems about connection, loss and longing from her point of view as a fourth-generation Black San Franciscan.\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>\u003ci>Muni Raised Me\u003c/i> feels intentional and full of care, which falls in line with the three curators’ mission to be of service. Outside of their art practices, Vu and Lee are both educators, and Tamayo-Lee is the co-director of \u003ca href=\"https://www.sfrising.org/\">San Francisco Rising\u003c/a>, an organization that aims to politically empower working class people of color. I spoke with them about their vision for the show, their favorite Muni routes and how they managed to fit a real bus into a gallery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925483","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003ci>This conversation has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Nastia Voynovskaya: I was struck by how so many of the artists involved are also organizers and educators who pour themselves into their community. What does that say to you about the art scene in San Francisco?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu\u003c/b>: That’s a fascinating question because I feel like it really speaks to specifically this art show, not so much the larger art scene in San Francisco. So many of the folks I know who stayed in the City, who have grown up here, have had to balance their identity as artists with other professions, especially if you’re a local up-and-coming artist. Then I think also looking at the world through the artistic lens, it really lends itself to seeing various cracks and injustices, which therefore puts you in a place where you’re like, “How can I have my art better serve the community? How can my being better serve the community?”\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> Public institutions are the things that raised us, so public transit, public schools and public parks. I think we really benefited from a really robust civil infrastructure. That really does speak to a San Francisco spirit, a very service-oriented sense of giving back to the city that raised us.\u003c/p>\n\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> [\u003ci>Muni Raised Me\u003c/i> is] a huge shoutout to the bus drivers, the teachers, the after-school caregivers, the volunteers who worked during recess or helped us cross the street. In so many ways, we spent more time with those adults than some of our own parents. And I think for me, there’s a feeling of just wanting to re-seed that in today’s youth and share that love that we’ve been given, and getting to be that cool, weird, funky adult. It’s a piece of pride for a lot of us.\u003c/p>\n\u003cfigure id=\"attachment_13926158\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-5.jpg\" alt=\"Handmade black and white jacket with symbols of city life embroidered\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-5-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of the garments in Sophia Mitty’s installation ‘Ode to SF,’ on view in ‘Muni Raised Me’ at SOMArts. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>So many of the pieces in the show feel nostalgic and centered on childhood memories. What’s the importance of that to you as curators and artists?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> So much of this show is pulling from a deep-seated nostalgia that really comes from having roots here. It’s an accumulation of 20 to 40 years of being in the same place. Being able to pull from childhood is such a unique lens because there are so many people here who didn’t grow up here, who are transplants in various ways and will never see the city through the same lens that we see it. And this is kind of offering a peek into that world.\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> I felt nostalgia when I was like 17. Nostalgia is such a forced emotion when you grow up in San Francisco because the change has just been so rapid and incredible. And maybe that’s just the nature of cities. But also there was definitely a malicious edge to it, you know, watching the tech industry come in, watching so many working-class families leave — so many of our friends and family. There’s a lot of sadness. We wanted to honor the pride and the sadness and the joy we have here.\u003c/p>\n\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> And to romanticize the ’90s in San Francisco. It was coming off the coattails of the AIDS epidemic and the war on drugs. There was such a vivacious and growing queer community. I felt like my childhood was very infused with a lot of music and art and street festivals and free concerts in the park. I feel like it takes a lot more effort to find that and build that nowadays.\u003c/p>\n\u003cfigure id=\"attachment_13926159\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-6.jpg\" alt=\"Colorful collage of bus tickets with text about Halloween in the Castro\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-6-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A close-up of the family photos in tanea lunsford lynx’s oral history audio installation, ‘I Used to Live Here.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>It seems like collaboration played a pretty big role on the show, in some of the pieces themselves and also in your process as the three curators. Could you tell me a little bit about that and how it relates to the spirit of this exhibit?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> So much of this show has been really about looking around and realizing that I’m in community with so many amazing people, artists and educators and curators that don’t really have a place to shine. So many of the artists we’ve known since high school. I’ve known Sasha since I was five and Celi since middle school. Having these relationships that go really far back has definitely been the backbone and the saving grace. It’s been so amazing to see these wonderful people in a whole new light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13925416","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cb>Celi Tamayo-Lee:\u003c/b> I think it was also a beautiful process of learning about each other outside of just being friends. Mey was like, “You know what? Like, screw it. I’m just going to try and apply to [SOMArts’ Curatorial Residency Program]. Here is my vision.” And we were like, “OK, we will follow you.” A third of the gallery is pieces by Sasha. Sasha has just had that artistic ambition to bring a lot of her skills and vision to a single place. I was the admin dom in terms of, “Are we meeting deadlines? Are we crossing our t’s dotting our i’s?” Learning how to work together has also just been like a big part of community building.\u003c/p>\n\u003cp>\u003cb>Sasha, could you tell me about the bus?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> My initial idea was like, maybe we can laser cut a bus and paint it, like a mini bus. But Celi was able to call someone who knew somebody who was able to get us in touch with the SFMTA. And we were able to have the bus donated. That was a huge blessing, completely unexpected in so many ways. And it became the centerpiece of the show.\u003c/p>\n\u003cp>A lot of love and planning and time was poured into the bus. We’re showing our vision of the temple bus, the altar bus, the ultimate psychedelic bus experience. And in so many ways it’s the true bus, the bus of our deep consciousness. I did the exterior art on the bus. And Ling Ling [Lee], who is Mey’s sibling and my close friend, designed a lot of the interior. The bus is meant to be a transformative piece that really ties together all of the nostalgia of the past with the possibilities of the future.\u003c/p>\n\u003cfigure id=\"attachment_13926161\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926161\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/muni-raised-me-1.jpg\" alt=\"Close-up view of plants and photographs in altar arrangement\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/muni-raised-me-1-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A close-up shot of the altar aboard ‘Altared SF’ by Sasha Vu and Ling Ling Lee. The photo on the left features Alex Nieto, who was killed by San Francisco police in 2014. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Before we wrap up, what are some of your favorite bus lines and destinations on them?\u003c/b>\u003c/p>\n\u003cp>\u003cb>Meymey Lee:\u003c/b> I’ll talk about the 44 because that’s basically how I met my best friend. She grew up in the Bayview. The 44 goes from the Bayview to Geary and California, it traverses the city. It’s such a journey. We would see each other in the morning, we would wait for the bus together after school. These were the moments that solidified our connection. She’s been my best friend for the past 15 years, and I really have the 44 to thank for that. And some locations along the 44 — Green Apple Books. Hing Wang Bakery on 9th and Judah. Yeah. Golden Gate Park. We would all go to the arboretum after school.\u003c/p>\n\u003cp>\u003cb>Sasha Vu:\u003c/b> For me the line I took home was the K Ingleside. It travels a very foggy, liminal route unreached by a lot of other buses. I grew up in the Mission and Ingleside, but during high school my family was in Ingleside. I would take the bus from my house to Castro and I’d get a slice of pizza at Marcello’s. And then I would walk down to Dolores Park, where all the homies were.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>\u003ci>‘Muni Raised Me’ is on view at SOMArts through April 9, 2023. \u003ca href=\"https://somarts.org/event/muniraisedme/\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926133/muni-raised-me-somarts-san-francisco","authors":["11387"],"programs":["arts_140"],"categories":["arts_1","arts_70"],"tags":["arts_10342","arts_10278","arts_1332","arts_7718","arts_2207","arts_585","arts_901"],"featImg":"arts_13926155","label":"arts_140"},"arts_13923127":{"type":"posts","id":"arts_13923127","meta":{"index":"posts_1591205157","site":"arts","id":"13923127","score":null,"sort":[1672772965000]},"guestAuthors":[],"slug":"dungeness-crab-fishing-filipino-american-treasure-island-san-francisco","title":"As a Filipino American, Dungeness Crab Was Part of My OG San Francisco Childhood","publishDate":1672772965,"format":"standard","headTitle":"As a Filipino American, Dungeness Crab Was Part of My OG San Francisco Childhood | KQED","labelTerm":{},"content":"\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[dropcap]I[/dropcap] never learned how to fish when I was growing up in San Francisco, but I did learn how to go crabbing. We lived on Treasure Island — or T.I., as the locals call it — back when the man-made island was still an active naval base. All through my childhood, I was surrounded by the damp, salty smell of waves crashing upon an artificial seawall — the cawing of gulls, faint tapping of metal hooks on flagpoles and ever-present foghorn in the distance.\u003c/p>\n\u003cp>On winter nights, when the weather permitted, my friends and I would bundle up and walk out onto the wooden pier with a crab net, a package of defrosted chicken thighs ready to be strapped into the bait cage. As a kid, it was staying up late that made it exciting — the fattest Dungeness mostly fed at night. As a teenager, it was the camaraderie of wind-whipped faces and timing our beers to when we pulled up the net to examine our haul. I learned how to pick a stray crab up off a net — from behind — before it could scuttle away on the pier, then flip it over to see if we were lucky enough to get some roe out of the catch.\u003c/p>\n\u003cp>When our eyes started drooping and our stomachs started growling, we’d head back to the house for a feast.\u003c/p>\n\u003cfigure id=\"attachment_13923170\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Rocky Rivera watches from a camping chair while her cousin-in-law prepares a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera watches while her cousin-in-law, Alyssa Tiglao (foreground), prepares the crab net at the Pacifica Municipal Pier. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every Filipino American knows that the first order of duty after placing the crabs in the sink is to cook the rice, which was the only other dish we’d prepare to make it a full meal. Someone would boil the water or fire up the oven, and then each household would cook the crab according to their preferred method. Most of us boiled them in seawater (or salted water) to season the meat. We learned to first freeze the crabs to make them sleepy, then throw them in a steamer pot so that they retained their natural salinity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>My sister always took the additional step of cracking each joint and pouring melted butter with garlic, tarragon, chili flakes and lemongrass over the crabs, then placing them in a hot oven to roast. Those extra ten minutes elevated the whole experience.\u003c/p>\n\u003cp>When the crab was finally ready to eat, the rice pot went still steaming to the table, along with a saucer of tiltilan for each person so we could dip the crab into the mixture of cane vinegar, smashed garlic, salt and pepper before scooping up rice with our hands. Food always tasted better kamayan-style. After each delicious bite, we’d spoon crab liver and roe over the hot rice and savor the luxurious flavor that had only cost us our sleep and mild hypothermia — a cost we were always willing to pay. Each of us would eat at least three Dungeness apiece.\u003c/p>\n\u003cfigure id=\"attachment_13923173\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Hands tying the rope knots on a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tying the rope knots on the crab net. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Filipinos, our connection with crabs is baked right into the culture. According to old folk tales, Tambanokano was a gigantic crab who was a child of the Sun and Moon. He lived in a hole in the bottom of the ocean and controlled the tides with his movement. He was so powerful that every time he opened and closed his eyes, a bolt of lightning would flash.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13921079,arts_13915581']\u003c/span>Sometimes when Tambanokano would argue with his parents, he became so upset with his mother, the Moon, that he would chase after her and try to swallow her. The villagers would come out with their drums and scare him away in order to save the Moon — an early explanation for what I assume were lunar eclipses.\u003c/p>\n\u003cp>I thought about those stories during the last dog days of summer this past year, on a day forecasted to be so hot that I’d schemed a coastal escape the night before. I wanted to get an early start toward Highway 1 from Oakland to beat the inland heat, so I called my cousin Nina in Pacifica, crossing my fingers that she was around for an impromptu beach day.\u003c/p>\n\u003cp>I parked at her place, migrating my beach bag to the backseat of her car while she recited, “Hail Mary, full of grace, let us find a parking space.” It must have worked because someone left, and Nina busted a U so fast on the 1, we got honked at. We waved them off. As locals, sometimes audacity is all we got when it comes to prime parking. By 11 a.m. the cars were so backed up along the 1 that they looked like a glittering snake on the cliffside.\u003c/p>\n\u003cfigure id=\"attachment_13923175\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13923175 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"One tiny crab scuttling along the edge of a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One tiny Dungeness crab — too small to keep — scuttles around the edge of the net. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[aside link1='https://youtu.be/4Ewc9krGDBQ?t=122,Watch: Fishing for the Best Catches at Pillar Point Harbor' hero='https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-30-at-4.32.13-PM-e1672447239257.png' heroURL='https://youtu.be/4Ewc9krGDBQ?t=122']After soaking up all the rays I could get, I decided to cool off in the surf, which was when a big wave sent something tumbling onto my legs. It was a full-grown Dungeness crab, so close to me I instinctively bent down to pick it up off the sand. In that split second, I thought, “Wait…what do I look like bringing in a whole-ass crab with no cooler to put it in? With my bare hands?!” In that moment of hesitation, the ocean washed the crab away. When I looked over at Nina, I saw a crab at her feet, too, right before it was carried away by an incoming wave.\u003c/p>\n\u003cp>All we could do was shake our heads at the Disney \u003ci>Moana\u003c/i>-like ocean experience. And to both of us?\u003c/p>\n\u003cp>In all the times my cousins and I played in the ocean together as kids, it had never gifted us a Dungeness to our feet. But now, thousands of miles away from our motherland, the ancestors were kind enough to show themselves through this duo of surfing crabs. Maybe the great Tambonokano was still working his magic on the tides and waves, after all.\u003c/p>\n\u003cfigure id=\"attachment_13923178\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"A toddler, bundled up in warm winter clothes, eats a cracker during a family crabbing trip.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author’s nephew, Kannon Scott-de Leon, on his first crabbing trip. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past four years, our family’s crab tradition has been postponed later and later due to the spread of toxic algae in the warming western waters where the Dungeness crabs live. This year’s commercial crab season was supposed to start on Dec. 1, my birthday, before it got pushed back again to the 31st. We’ve played it safe and waited patiently, but the only redeeming quality about having a birthday in December is crab season. Real Frisco heads know this.\u003c/p>\n\u003cp>But with the price of everything in our city going up, and pollution pushing our annual crab feasts further back, this pastime could be soon over by the time my daughter is old enough to throw her own crab net into the Bay.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“Maybe that’s the mark of a real San Franciscan: that you love something that no longer exists, or that’s slipping away before your very eyes.”[/pullquote]\u003c/span>The wooden pier on Treasure Island where my family used to crab was condemned, then demolished, a couple years back, replaced by a small ferry pier. And catching Dungeness within the San Francisco Bay hasn’t been legal since the early 2000s anyway. Recently, a young architectural intern showed me a render of plans for the new T.I., in which glass-covered condo skyscrapers would replace the old aviation museum and soldier barracks. Even though those of us who grew up in the tiny island community always knew about the real estate potential and million-dollar view, it’s still strange to see the construction cranes \u003ca href=\"https://youtu.be/qJVTQi1KXzg\">making those changes a reality\u003c/a>.\u003c/p>\n\u003cp>Maybe that’s the mark of a real San Franciscan: that you love something that no longer exists, or that’s slipping away before your very eyes.\u003c/p>\n\u003cfigure id=\"attachment_13923179\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"A nighttime family portrait taken on the pier in Pacifica.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For Rocky Rivera, crab fishing has always been a family affair. Pictured from left to right: Alyssa Tiglao, Kannon Scott-de Leon, Mark Scott-de Leon, Makai Scott-de Leon, Nina Parks and Rivera. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet at the start of every crab season, I still splurge. On Christmas, when my sister is in town, we head over to Ranch 99 or the Pacific Supermarket on Alemany Ave. and prepare a whole platter in the way we know best, extra steps and all. We don’t forget to pick up some newspapers outside of the store — no one reads ’em anyway — and drape them over the table to absorb the butter and hold the shells.\u003c/p>\n\u003cp>I tell myself that with all the practice from childhood, I could have caught Tambanokano himself with my bare hands. But that magical crab wouldn’t have been pleased. Every responsible crabber knows that we only take what’s necessary and leave the rest for next year’s catch.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The author's memories of crab fishing on Treasure Island are in danger of becoming a relic of the past.","status":"publish","parent":0,"modified":1705006019,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":24,"wordCount":1651},"headData":{"title":"As a Filipino American, Dungeness Crab Was Part of My OG San Francisco Childhood | KQED","description":"The author's memories of crab fishing on Treasure Island are in danger of becoming a relic of the past.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"As a Filipino American, Dungeness Crab Was Part of My OG San Francisco Childhood","datePublished":"2023-01-03T19:09:25.000Z","dateModified":"2024-01-11T20:46:59.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"source":"Frisco Foodies","sourceUrl":"https://www.kqed.org/arts/tag/frisco-foodies","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13923127/dungeness-crab-fishing-filipino-american-treasure-island-san-francisco","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Frisco Foodies is a recurring column in which a San Francisco local shares food memories of growing up in a now rapidly changing city.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">I\u003c/span>\u003c/p>\u003cp> never learned how to fish when I was growing up in San Francisco, but I did learn how to go crabbing. We lived on Treasure Island — or T.I., as the locals call it — back when the man-made island was still an active naval base. All through my childhood, I was surrounded by the damp, salty smell of waves crashing upon an artificial seawall — the cawing of gulls, faint tapping of metal hooks on flagpoles and ever-present foghorn in the distance.\u003c/p>\n\u003cp>On winter nights, when the weather permitted, my friends and I would bundle up and walk out onto the wooden pier with a crab net, a package of defrosted chicken thighs ready to be strapped into the bait cage. As a kid, it was staying up late that made it exciting — the fattest Dungeness mostly fed at night. As a teenager, it was the camaraderie of wind-whipped faces and timing our beers to when we pulled up the net to examine our haul. I learned how to pick a stray crab up off a net — from behind — before it could scuttle away on the pier, then flip it over to see if we were lucky enough to get some roe out of the catch.\u003c/p>\n\u003cp>When our eyes started drooping and our stomachs started growling, we’d head back to the house for a feast.\u003c/p>\n\u003cfigure id=\"attachment_13923170\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923170\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Rocky Rivera watches from a camping chair while her cousin-in-law prepares a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61775_009_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Rocky Rivera watches while her cousin-in-law, Alyssa Tiglao (foreground), prepares the crab net at the Pacifica Municipal Pier. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every Filipino American knows that the first order of duty after placing the crabs in the sink is to cook the rice, which was the only other dish we’d prepare to make it a full meal. Someone would boil the water or fire up the oven, and then each household would cook the crab according to their preferred method. Most of us boiled them in seawater (or salted water) to season the meat. We learned to first freeze the crabs to make them sleepy, then throw them in a steamer pot so that they retained their natural salinity.\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>My sister always took the additional step of cracking each joint and pouring melted butter with garlic, tarragon, chili flakes and lemongrass over the crabs, then placing them in a hot oven to roast. Those extra ten minutes elevated the whole experience.\u003c/p>\n\u003cp>When the crab was finally ready to eat, the rice pot went still steaming to the table, along with a saucer of tiltilan for each person so we could dip the crab into the mixture of cane vinegar, smashed garlic, salt and pepper before scooping up rice with our hands. Food always tasted better kamayan-style. After each delicious bite, we’d spoon crab liver and roe over the hot rice and savor the luxurious flavor that had only cost us our sleep and mild hypothermia — a cost we were always willing to pay. Each of us would eat at least three Dungeness apiece.\u003c/p>\n\u003cfigure id=\"attachment_13923173\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923173\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"Hands tying the rope knots on a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61768_005_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Tying the rope knots on the crab net. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Filipinos, our connection with crabs is baked right into the culture. According to old folk tales, Tambanokano was a gigantic crab who was a child of the Sun and Moon. He lived in a hole in the bottom of the ocean and controlled the tides with his movement. He was so powerful that every time he opened and closed his eyes, a bolt of lightning would flash.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13921079,arts_13915581","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>Sometimes when Tambanokano would argue with his parents, he became so upset with his mother, the Moon, that he would chase after her and try to swallow her. The villagers would come out with their drums and scare him away in order to save the Moon — an early explanation for what I assume were lunar eclipses.\u003c/p>\n\u003cp>I thought about those stories during the last dog days of summer this past year, on a day forecasted to be so hot that I’d schemed a coastal escape the night before. I wanted to get an early start toward Highway 1 from Oakland to beat the inland heat, so I called my cousin Nina in Pacifica, crossing my fingers that she was around for an impromptu beach day.\u003c/p>\n\u003cp>I parked at her place, migrating my beach bag to the backseat of her car while she recited, “Hail Mary, full of grace, let us find a parking space.” It must have worked because someone left, and Nina busted a U so fast on the 1, we got honked at. We waved them off. As locals, sometimes audacity is all we got when it comes to prime parking. By 11 a.m. the cars were so backed up along the 1 that they looked like a glittering snake on the cliffside.\u003c/p>\n\u003cfigure id=\"attachment_13923175\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13923175 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"One tiny crab scuttling along the edge of a crab net.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61783_022_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One tiny Dungeness crab — too small to keep — scuttles around the edge of the net. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"link1":"https://youtu.be/4Ewc9krGDBQ?t=122,Watch: Fishing for the Best Catches at Pillar Point Harbor","hero":"https://ww2.kqed.org/app/uploads/sites/2/2022/12/Screen-Shot-2022-12-30-at-4.32.13-PM-e1672447239257.png","herourl":"https://youtu.be/4Ewc9krGDBQ?t=122","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>After soaking up all the rays I could get, I decided to cool off in the surf, which was when a big wave sent something tumbling onto my legs. It was a full-grown Dungeness crab, so close to me I instinctively bent down to pick it up off the sand. In that split second, I thought, “Wait…what do I look like bringing in a whole-ass crab with no cooler to put it in? With my bare hands?!” In that moment of hesitation, the ocean washed the crab away. When I looked over at Nina, I saw a crab at her feet, too, right before it was carried away by an incoming wave.\u003c/p>\n\u003cp>All we could do was shake our heads at the Disney \u003ci>Moana\u003c/i>-like ocean experience. And to both of us?\u003c/p>\n\u003cp>In all the times my cousins and I played in the ocean together as kids, it had never gifted us a Dungeness to our feet. But now, thousands of miles away from our motherland, the ancestors were kind enough to show themselves through this duo of surfing crabs. Maybe the great Tambonokano was still working his magic on the tides and waves, after all.\u003c/p>\n\u003cfigure id=\"attachment_13923178\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923178\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"A toddler, bundled up in warm winter clothes, eats a cracker during a family crabbing trip.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61769_003_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The author’s nephew, Kannon Scott-de Leon, on his first crabbing trip. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the past four years, our family’s crab tradition has been postponed later and later due to the spread of toxic algae in the warming western waters where the Dungeness crabs live. This year’s commercial crab season was supposed to start on Dec. 1, my birthday, before it got pushed back again to the 31st. We’ve played it safe and waited patiently, but the only redeeming quality about having a birthday in December is crab season. Real Frisco heads know this.\u003c/p>\n\u003cp>But with the price of everything in our city going up, and pollution pushing our annual crab feasts further back, this pastime could be soon over by the time my daughter is old enough to throw her own crab net into the Bay.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“Maybe that’s the mark of a real San Franciscan: that you love something that no longer exists, or that’s slipping away before your very eyes.”","name":"pullquote","attributes":{"named":{"size":"large","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>The wooden pier on Treasure Island where my family used to crab was condemned, then demolished, a couple years back, replaced by a small ferry pier. And catching Dungeness within the San Francisco Bay hasn’t been legal since the early 2000s anyway. Recently, a young architectural intern showed me a render of plans for the new T.I., in which glass-covered condo skyscrapers would replace the old aviation museum and soldier barracks. Even though those of us who grew up in the tiny island community always knew about the real estate potential and million-dollar view, it’s still strange to see the construction cranes \u003ca href=\"https://youtu.be/qJVTQi1KXzg\">making those changes a reality\u003c/a>.\u003c/p>\n\u003cp>Maybe that’s the mark of a real San Franciscan: that you love something that no longer exists, or that’s slipping away before your very eyes.\u003c/p>\n\u003cfigure id=\"attachment_13923179\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923179\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg\" alt=\"A nighttime family portrait taken on the pier in Pacifica.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/12/RS61788_024_KQEDArts_RockyRiveraCrabbing_12192022-qut-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">For Rocky Rivera, crab fishing has always been a family affair. Pictured from left to right: Alyssa Tiglao, Kannon Scott-de Leon, Mark Scott-de Leon, Makai Scott-de Leon, Nina Parks and Rivera. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yet at the start of every crab season, I still splurge. On Christmas, when my sister is in town, we head over to Ranch 99 or the Pacific Supermarket on Alemany Ave. and prepare a whole platter in the way we know best, extra steps and all. We don’t forget to pick up some newspapers outside of the store — no one reads ’em anyway — and drape them over the table to absorb the butter and hold the shells.\u003c/p>\n\u003cp>I tell myself that with all the practice from childhood, I could have caught Tambanokano himself with my bare hands. But that magical crab wouldn’t have been pleased. Every responsible crabber knows that we only take what’s necessary and leave the rest for next year’s catch.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\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>\u003ca href=\"https://www.kqed.org/arts/13921079/mom-tribute-dia-de-los-muertos-filipino-food-altar-frisco-foodies\">Rocky Rivera\u003c/a> is a journalist, emcee, author and activist from San Francisco. She has four musical projects out, three of those with her label Beatrock Music. She released her first book last year, entitled \u003c/em>Snakeskin: Essays by Rocky Rivera\u003cem>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923127/dungeness-crab-fishing-filipino-american-treasure-island-san-francisco","authors":["11846"],"categories":["arts_1","arts_12276"],"tags":["arts_10278","arts_14183","arts_1176","arts_18971","arts_1332","arts_10426","arts_1146","arts_1925"],"featImg":"arts_13923163","label":"source_arts_13923127"},"arts_13910282":{"type":"posts","id":"arts_13910282","meta":{"index":"posts_1591205157","site":"arts","id":"13910282","score":null,"sort":[1646780100000]},"guestAuthors":[],"slug":"nimsins-raps-about-east-oakland-with-love","title":"Nimsins Raps About East Oakland With Love","publishDate":1646780100,"format":"standard","headTitle":"Nimsins Raps About East Oakland With Love | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400\">In a perfect multiverse, the best part about Oakland’s First Fridays is the ending: after a late-night street party, while holding a heavy plate of barbecue links, green beans and mac and cheese on the walk back to your car.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But that comfort isn’t always the case, especially lately. \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13902006/oakland-police-security-fees-community-events-canceled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Expensive city fees\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> have made it more difficult to throw events since the start of the pandemic, and residents are on edge after seeing a \u003c/span>\u003ca href=\"https://oaklandside.org/2021/12/23/2021-oakland-deadliest-year-since-2006-homicides-shootings-gun-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">rise in gun violence\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> this past year. Still, there are powerful moments of healing and solidarity to be found if you know where to look—and a mosaic of local advocates have tirelessly labored to preserve positive outlets, even if it all seems hidden from plain view. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One supplier of vivacity dedicated to keeping Oakland real? \u003c/span>\u003ca href=\"https://www.instagram.com/nimsins/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Nimsins, an emerging hip-hop artist\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and sage observer of his hometown’s complex, sometimes contradictory dynamics.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m from East Oakland,” he proudly tells me outside of Renegade Running, a downtown sneaker shop where a crowd gathers to see him rock the mic. “It’s different. I’m not out here [in this neighborhood] much, but things keep changing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Minutes before performing, Nimsins is chilling outside, observing the scene and exchanging daps and laughs with friends. They’ve all driven from the farthest end of the city to celebrate Nim’s recent rise in the rap world, capping off a solid run of two albums, a few EPs, and a handful of singles since 2017. He’s all smiles and clever jokes—something he maintains around his folks—but switches modes once he begins to deliver his truth to the audience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You don’t know how it feel [when] construction all in your hood,” he raps from “Don’t Know How It Feels” off his \u003c/span>\u003ca href=\"https://nimsinsthebalance.bandcamp.com/album/more-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">2021 project, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">More To Life\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span> \u003cspan style=\"font-weight: 400\">The intimately packed listeners sway along, nodding heads, attentively tuned into his energy.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/embed/XPgkV1e6KIk\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The song is hyper-appropriate for Oakland in 2022, where a soon-to-open burger joint glows with neon signage across the street and two police cruisers are parked in front. Their presence indicates a shifting city, which continues to invest into the development and protection of certain areas and populations while neglecting others. It’s something Nimsins grapples with in his life and music, while seeking to highlight the solidarity that simultaneously resides in his city. [aside postid='arts_13910221']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his stream-of-consciousness style, Nimsins celebrates being a Black man who grew up in a largely Mexican and immigrant community, eating homemade tamales, mole and arroz. He flexes his bilingual skills in titles like “La Verdad” and “Tostones en Harlem,” with a relaxed flow that effortlessly flips to Spanish mid verse over lo-fi, sample-based beats. He even has an upcoming track with local \u003c/span>\u003ca href=\"https://eastbayexpress.com/spitting-game/?amp\">\u003cspan style=\"font-weight: 400\">Mexican American rapper Nito\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on the way. \u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/embed/AFyachRLyA8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In his lyrics, Nimsins often criticizes the lack of infrastructural development in his neighborhood and the frustration he feels in seeing his people locked up. He toggles perspectives from track to track with an inviting, conversational tone: bars about admiring his young daughter while hooping at the park segue into a lesson on various historical factors at the root of urban decay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get redlined, we get criminalized / you get lifelines, you get dollar signs / this vengeance in my eyes I’m desensitized,” he says on “Redline”—a song that explains how his upbringing in an economically segregated part of East Oakland limited social opportunities for him and his neighbors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The record breaks down a form of discrimination that dates back to the 1930s, when the federal government \u003c/span>\u003ca href=\"https://www.kqed.org/lowdown/18486/redlining\">\u003cspan style=\"font-weight: 400\">systemically denied Black neighborhoods access to home loans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and other resources. Even in Oakland, \u003c/span>\u003ca href=\"https://www.reddit.com/r/oakland/comments/ewaip3/this_vintage_rockridge_neighborhood_advertisement/\">\u003cspan style=\"font-weight: 400\">neighborhoods like Rockridge\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> explicitly banned Black, Chinese and Japanese home buyers and renters. The legacy of these policies is evident in the pronounced wealth inequality we see in the city today. As the backlash to the recent school closures in East Oakland has shown, families still feel cut off from the “lifelines” of quality education, healthcare and infrastructure. [aside postid='news_11904618']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rather than simply rapping about it, Nimsins has taken action to facilitate improvement.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The messages we feed kids are contradictory to our growth,” he says. “Being a father and being a teacher made me mindful of what I put out and what I do. I can’t be on no bullshit.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having been shot by a stray bullet as a two-year-old in 1997—a wound that left him with only one fully functional kidney—Nimsins has directed his adult life towards arts, civic engagement and uplifting his community. In the past, he has dedicated himself as an after school educator with non-profits like \u003ca href=\"https://www.facebook.com/PUEBLO-Oakland-742724215819105/\" target=\"_blank\" rel=\"noopener noreferrer\">Pueblo \u003c/a>and Safe Passages’ \u003ca href=\"https://safepassages.org/initiatives/social-economic-justice/get-active-urban-arts/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Active Urban Arts\u003c/a>, visiting classrooms and teaching the youth in his neighborhood about knowing their rights, local histories and how to paint murals. A product of Fremont High School himself, he knows the value of his “predecessors” who were able to teach, guide and contribute to his journey. Today, he continues to do that as a rapper, father and graffiti artist.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get the kids to rock with art, cultural literacy, hip-hop. Homework and life skills, too,” he says. “There’s lots of Latinos out here so we also explore Aztecs and indigenous cultures, things like that. Just giving back to the community. Each one, teach one.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both his actions and his songs are like opening up a journal entry penned by an observant, tender-hearted activist who simply wants to see better for his community. There’s no flashy gimmicks of fame, no hyperbolic claims of toughness, no dissing his imaginary foes. It’s purely meditative—a contemplation about his living conditions and an unfiltered glimpse of what he hopes to see changed. Yet, despite his warmth, there’s a roughness and urgency that seeps out from having experienced the consequences of poverty and discrimination firsthand. And he never half-steps about the way he feels.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/embed/50k8FDjF_48\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">His self-education about figures like the Black Panther Party, Che Guevara, Immortal Technique and The Coup have informed his sense of purpose and possibility as an artist and community advocate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2019, Nimsins spent six months calling the City of Oakland, trying to get a dilapidated basketball court fixed in his neighborhood with no success. His tweet about his frustrations went viral, and the Golden State Warriors took notice. They sent a team of workers to renovate Concordia Park—\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863262/steph-curry-helps-renovate-run-down-basketball-court-in-east-oakland\">\u003cspan style=\"font-weight: 400\">along with Steph Curry\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>https://twitter.com/nimfromthaeast/status/1144369613448175616?s=20\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Taking big shots with an optimistic aim is at the core of how Nim moves. Whether it’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13849948/lo-fiction-chases-that-bag-through-east-oakland\">\u003cspan style=\"font-weight: 400\">making music videos with kids in his neighborhood\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> as part of his Lo-Fiction crew or sharing the meaning of his name (the “sins” part of Nimsins means “stay in school”) with youth, he is purposeful and genuine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Kids die where I come from. People drop out at young ages. There’s no resources,” he says. “That’s what I’ve always known. My music reflects that. I actually come from this.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With new music on the way, including \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">\u003cspan style=\"font-weight: 400\">collaborations with local rappers and producers like Ovrkast.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://demahjiae.bandcamp.com/album/and-such-is-life\">\u003cspan style=\"font-weight: 400\">demahjiae\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003c/span>\u003ca href=\"https://www.instagram.com/eliversaam/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, he’s fixated on sharing love and giving “Bendiciones.” As he says in an unreleased track he sent me to preview for his upcoming untitled EP: “Black book in the crib, I’m working on my handstyles / I’m so thankful for all the game passed down.” And we’re thankful for the game he is passing down, too.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The emerging artist shines a light on his neighborhood's forgotten corners with his music and community work. ","status":"publish","parent":0,"modified":1708612202,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":23,"wordCount":1357},"headData":{"title":"Nimsins Raps About East Oakland With Love | KQED","description":"The emerging artist shines a light on his neighborhood's forgotten corners with his music and community work. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Nimsins Raps About East Oakland With Love","datePublished":"2022-03-08T22:55:00.000Z","dateModified":"2024-02-22T14:30:02.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13910282/nimsins-raps-about-east-oakland-with-love","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In a perfect multiverse, the best part about Oakland’s First Fridays is the ending: after a late-night street party, while holding a heavy plate of barbecue links, green beans and mac and cheese on the walk back to your car.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But that comfort isn’t always the case, especially lately. \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13902006/oakland-police-security-fees-community-events-canceled\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Expensive city fees\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> have made it more difficult to throw events since the start of the pandemic, and residents are on edge after seeing a \u003c/span>\u003ca href=\"https://oaklandside.org/2021/12/23/2021-oakland-deadliest-year-since-2006-homicides-shootings-gun-violence/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">rise in gun violence\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> this past year. Still, there are powerful moments of healing and solidarity to be found if you know where to look—and a mosaic of local advocates have tirelessly labored to preserve positive outlets, even if it all seems hidden from plain view. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One supplier of vivacity dedicated to keeping Oakland real? \u003c/span>\u003ca href=\"https://www.instagram.com/nimsins/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Nimsins, an emerging hip-hop artist\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and sage observer of his hometown’s complex, sometimes contradictory dynamics.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m from East Oakland,” he proudly tells me outside of Renegade Running, a downtown sneaker shop where a crowd gathers to see him rock the mic. “It’s different. I’m not out here [in this neighborhood] much, but things keep changing.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Minutes before performing, Nimsins is chilling outside, observing the scene and exchanging daps and laughs with friends. They’ve all driven from the farthest end of the city to celebrate Nim’s recent rise in the rap world, capping off a solid run of two albums, a few EPs, and a handful of singles since 2017. He’s all smiles and clever jokes—something he maintains around his folks—but switches modes once he begins to deliver his truth to the audience.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“You don’t know how it feel [when] construction all in your hood,” he raps from “Don’t Know How It Feels” off his \u003c/span>\u003ca href=\"https://nimsinsthebalance.bandcamp.com/album/more-to-life\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">2021 project, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">More To Life\u003c/span>\u003c/i>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span> \u003cspan style=\"font-weight: 400\">The intimately packed listeners sway along, nodding heads, attentively tuned into his energy.\u003c/span>\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/XPgkV1e6KIk'\n title='//www.youtube.com/embed/XPgkV1e6KIk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The song is hyper-appropriate for Oakland in 2022, where a soon-to-open burger joint glows with neon signage across the street and two police cruisers are parked in front. Their presence indicates a shifting city, which continues to invest into the development and protection of certain areas and populations while neglecting others. It’s something Nimsins grapples with in his life and music, while seeking to highlight the solidarity that simultaneously resides in his city. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910221","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With his stream-of-consciousness style, Nimsins celebrates being a Black man who grew up in a largely Mexican and immigrant community, eating homemade tamales, mole and arroz. He flexes his bilingual skills in titles like “La Verdad” and “Tostones en Harlem,” with a relaxed flow that effortlessly flips to Spanish mid verse over lo-fi, sample-based beats. He even has an upcoming track with local \u003c/span>\u003ca href=\"https://eastbayexpress.com/spitting-game/?amp\">\u003cspan style=\"font-weight: 400\">Mexican American rapper Nito\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on the way. \u003c/span>\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/AFyachRLyA8'\n title='//www.youtube.com/embed/AFyachRLyA8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">In his lyrics, Nimsins often criticizes the lack of infrastructural development in his neighborhood and the frustration he feels in seeing his people locked up. He toggles perspectives from track to track with an inviting, conversational tone: bars about admiring his young daughter while hooping at the park segue into a lesson on various historical factors at the root of urban decay. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get redlined, we get criminalized / you get lifelines, you get dollar signs / this vengeance in my eyes I’m desensitized,” he says on “Redline”—a song that explains how his upbringing in an economically segregated part of East Oakland limited social opportunities for him and his neighbors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The record breaks down a form of discrimination that dates back to the 1930s, when the federal government \u003c/span>\u003ca href=\"https://www.kqed.org/lowdown/18486/redlining\">\u003cspan style=\"font-weight: 400\">systemically denied Black neighborhoods access to home loans\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and other resources. Even in Oakland, \u003c/span>\u003ca href=\"https://www.reddit.com/r/oakland/comments/ewaip3/this_vintage_rockridge_neighborhood_advertisement/\">\u003cspan style=\"font-weight: 400\">neighborhoods like Rockridge\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> explicitly banned Black, Chinese and Japanese home buyers and renters. The legacy of these policies is evident in the pronounced wealth inequality we see in the city today. As the backlash to the recent school closures in East Oakland has shown, families still feel cut off from the “lifelines” of quality education, healthcare and infrastructure. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11904618","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Rather than simply rapping about it, Nimsins has taken action to facilitate improvement.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“The messages we feed kids are contradictory to our growth,” he says. “Being a father and being a teacher made me mindful of what I put out and what I do. I can’t be on no bullshit.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Having been shot by a stray bullet as a two-year-old in 1997—a wound that left him with only one fully functional kidney—Nimsins has directed his adult life towards arts, civic engagement and uplifting his community. In the past, he has dedicated himself as an after school educator with non-profits like \u003ca href=\"https://www.facebook.com/PUEBLO-Oakland-742724215819105/\" target=\"_blank\" rel=\"noopener noreferrer\">Pueblo \u003c/a>and Safe Passages’ \u003ca href=\"https://safepassages.org/initiatives/social-economic-justice/get-active-urban-arts/\" target=\"_blank\" rel=\"noopener noreferrer\">Get Active Urban Arts\u003c/a>, visiting classrooms and teaching the youth in his neighborhood about knowing their rights, local histories and how to paint murals. A product of Fremont High School himself, he knows the value of his “predecessors” who were able to teach, guide and contribute to his journey. Today, he continues to do that as a rapper, father and graffiti artist.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We get the kids to rock with art, cultural literacy, hip-hop. Homework and life skills, too,” he says. “There’s lots of Latinos out here so we also explore Aztecs and indigenous cultures, things like that. Just giving back to the community. Each one, teach one.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both his actions and his songs are like opening up a journal entry penned by an observant, tender-hearted activist who simply wants to see better for his community. There’s no flashy gimmicks of fame, no hyperbolic claims of toughness, no dissing his imaginary foes. It’s purely meditative—a contemplation about his living conditions and an unfiltered glimpse of what he hopes to see changed. Yet, despite his warmth, there’s a roughness and urgency that seeps out from having experienced the consequences of poverty and discrimination firsthand. And he never half-steps about the way he feels.\u003c/span>\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/50k8FDjF_48'\n title='//www.youtube.com/embed/50k8FDjF_48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">His self-education about figures like the Black Panther Party, Che Guevara, Immortal Technique and The Coup have informed his sense of purpose and possibility as an artist and community advocate. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In 2019, Nimsins spent six months calling the City of Oakland, trying to get a dilapidated basketball court fixed in his neighborhood with no success. His tweet about his frustrations went viral, and the Golden State Warriors took notice. They sent a team of workers to renovate Concordia Park—\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13863262/steph-curry-helps-renovate-run-down-basketball-court-in-east-oakland\">\u003cspan style=\"font-weight: 400\">along with Steph Curry\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"singleTwitterStatus","attributes":{"named":{"id":"1144369613448175616"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cspan style=\"font-weight: 400\">Taking big shots with an optimistic aim is at the core of how Nim moves. Whether it’s \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13849948/lo-fiction-chases-that-bag-through-east-oakland\">\u003cspan style=\"font-weight: 400\">making music videos with kids in his neighborhood\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> as part of his Lo-Fiction crew or sharing the meaning of his name (the “sins” part of Nimsins means “stay in school”) with youth, he is purposeful and genuine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Kids die where I come from. People drop out at young ages. There’s no resources,” he says. “That’s what I’ve always known. My music reflects that. I actually come from this.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With new music on the way, including \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">\u003cspan style=\"font-weight: 400\">collaborations with local rappers and producers like Ovrkast.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ca href=\"https://demahjiae.bandcamp.com/album/and-such-is-life\">\u003cspan style=\"font-weight: 400\">demahjiae\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, and \u003c/span>\u003ca href=\"https://www.instagram.com/eliversaam/\">\u003cspan style=\"font-weight: 400\">Versâam\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, he’s fixated on sharing love and giving “Bendiciones.” As he says in an unreleased track he sent me to preview for his upcoming untitled EP: “Black book in the crib, I’m working on my handstyles / I’m so thankful for all the game passed down.” And we’re thankful for the game he is passing down, too.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13910282/nimsins-raps-about-east-oakland-with-love","authors":["11748"],"categories":["arts_1"],"tags":["arts_8505","arts_10278","arts_1332","arts_1143","arts_7827","arts_974"],"featImg":"arts_13910289","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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. 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