‘Requiem Sinfónica’ Honors Ghost Ship Victims with Music and Hope
Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms
‘Ghostship’ Party Changes Name After Fire Survivors Speak Out
State Senator Introduces Legislation to Protect Live-Work and Warehouse Residences
Proposed Ghost Ship TV Show From Chabon, Waldman Draws Ire [UPDATED]
Evictions, Ghost Ship Fire Pushed Oakland Artists to Margins
For Oakland's Wounded Music Scene, No Ghost Ship Verdict Could Deliver Justice
M0xy Warehouse Artists in Oakland Plot Recovery From Fire
On Her Posthumous Album, Cherushii's Ecstatic Vision is Crystal Clear
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Angry and disheartened at the lack of answers and accountability following the tragedy, flutist and composer \u003ca href=\"https://artietrodriguez.wixsite.com/artierodriguezflute\">Arturo Rodriguez\u003c/a> began developing \u003cem>Requiem Sinfónica: A Requiem Without Words\u003c/em>, a commemorative nine-movement orchestral suite that \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">debuts in full on Saturday, Dec. 3\u003c/a>, at the Malonga Casquelourd Center in Oakland.\u003c/p>\n\u003cp>For Rodriguez, the process of writing the requiem mirrored his restlessness about the tragedy. Melodies and themes floated in and out of his head. Unrefined echoes of cello and lower bass notes appeared like shadows, looming overhead as he tried to jot them all down. As Rodriguez contemplated the form of the musical requiem, where the journey of souls toward paradise is traditionally explored through lyricism, he opted to forego a choir and focus on the instrumentation.\u003c/p>\n\u003cp>[aside link1='https://www.kqed.org/ghostshipmemorial,Honoring Those Lost to the Ghost Ship Fire' hero='https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/OaklandFireMemorial-11x17.jpg']“My work is supposed to represent the silencing of voices. I don’t know what their last words were,” Rodriguez said. “I can only imagine what they were thinking to themselves. So in a way, this music is their thoughts in musical form: it’s their acceptance, their trauma, their anger, hate, every emotion.”\u003c/p>\n\u003cp>With the support of fellow members from \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra Collective\u003c/a>, a nonprofit that hosts open music-reading sessions to make orchestral music and performance more accessible, Rodriguez hopes to highlight the sense of hope and family he’s gained from connecting with musicians and family members personally impacted by the tragedy.\u003c/p>\n\u003cp>“It’s so beautifully humanizing, the way that they love each other and look out for each other. I think, because the music is so involved, I became involved,” said Rodriguez. “It was an opportunity to really become invested in something that was not myself and my own musical exploration. It was also like, ‘What do I want to tell the families with this music? How do I want to express my gratitude to them?’”\u003c/p>\n\u003cfigure id=\"attachment_13922067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg\" alt=\"A room of symphonic musicians plays with music stands and instruments\" width=\"800\" height=\"411\" class=\"size-medium wp-image-13922067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1020x523.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-768x394.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1536x788.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awesöme Orchestra members rehearse ‘Requiem Sinfónica.’\u003cbr> \u003ccite>(Courtesy Arturo Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through nine movements, Rodriguez layers various percussion, brass, woodwind and strings into lush musical scenes that depict coming to terms with death, and a journey toward peace. David Möschler, Awesöme Orchestra artistic director and Requiem Sinfónica conductor, explains that many of the musicians in the 65-piece ensemble have a personal connection to the fire, and have been rehearsing arduously to perfect Rodriguez’s complex composition.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The music requires a lot of endurance from the players because of its length. Because of the wide range of eclectic, stylistic influences, the music can switch really quickly from one mood to another,” said Möschler. “Any of the players will tell you, it’s not a piece to show up and just sort of sightread. It really requires focus and knowing how it goes, and the style and the sound.”\u003c/p>\n\u003cp>[aside postID='arts_13793868']Rodriguez spent over three years revising and workshopping the 90-minute requiem, with the entire process spanning six years. And as the various musical elements shifted, his intentions evolved.\u003c/p>\n\u003cp>“I’m starting to look at it [Requiem Sinfónica] as an ask to our political leaders and social leaders to allow us to have more of a voice,” said Rodriguez. “What does a safe artist’s space look like? How do we take care of the people that essentially create the culture that life is based on? These are questions that I want answered.” \u003c/p>\n\u003cp>On Saturday, the concert hall will fill with the low hum and vibrations of tuning instruments. Swirling with these sounds will be anticipation, grief, celebration and hope — and as family and friends hold one another, their loved ones will continue to live on in the music all around them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Requiem Sinfónica: A Requiem Without Words’ premieres Saturday, Dec. 3, at the Malonga Casquelord Center for the Arts in Oakland. Attendance is free. In-person seats are limited; a \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe2h0-cz_kL9WySNOpDadnFsyRWHUdW_J5rOdWlt-aoLjWhAg/viewform\">livestream link is available\u003c/a> upon RSVP. \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Composer Arturo Rodriguez premieres his musical remembrance for the 36 people who died in the 2016 Ghost Ship fire in Oakland.","status":"publish","parent":0,"modified":1705006119,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":755},"headData":{"title":"‘Requiem Sinfónica’ Honors Ghost Ship Victims with Music and Hope | KQED","description":"Composer Arturo Rodriguez premieres his musical remembrance for the 36 people who died in the 2016 Ghost Ship fire in Oakland.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"requiem-sinfonica-honors-ghost-ship-victims-with-music-and-hope","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13922065/requiem-sinfonica-ghost-ship","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the late hours of Dec. 2, 2016, a fire swept through the Ghost Ship warehouse in Oakland and \u003ca href=\"https://www.kqed.org/ghostshipmemorial\">claimed the lives of 36 people\u003c/a> — a loss that left friends, families and the Oakland artist community confused and hollow. Angry and disheartened at the lack of answers and accountability following the tragedy, flutist and composer \u003ca href=\"https://artietrodriguez.wixsite.com/artierodriguezflute\">Arturo Rodriguez\u003c/a> began developing \u003cem>Requiem Sinfónica: A Requiem Without Words\u003c/em>, a commemorative nine-movement orchestral suite that \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">debuts in full on Saturday, Dec. 3\u003c/a>, at the Malonga Casquelourd Center in Oakland.\u003c/p>\n\u003cp>For Rodriguez, the process of writing the requiem mirrored his restlessness about the tragedy. Melodies and themes floated in and out of his head. Unrefined echoes of cello and lower bass notes appeared like shadows, looming overhead as he tried to jot them all down. As Rodriguez contemplated the form of the musical requiem, where the journey of souls toward paradise is traditionally explored through lyricism, he opted to forego a choir and focus on the instrumentation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"link1":"https://www.kqed.org/ghostshipmemorial,Honoring Those Lost to the Ghost Ship Fire","hero":"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/OaklandFireMemorial-11x17.jpg","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“My work is supposed to represent the silencing of voices. I don’t know what their last words were,” Rodriguez said. “I can only imagine what they were thinking to themselves. So in a way, this music is their thoughts in musical form: it’s their acceptance, their trauma, their anger, hate, every emotion.”\u003c/p>\n\u003cp>With the support of fellow members from \u003ca href=\"https://awesomeorchestra.org/\">Awesöme Orchestra Collective\u003c/a>, a nonprofit that hosts open music-reading sessions to make orchestral music and performance more accessible, Rodriguez hopes to highlight the sense of hope and family he’s gained from connecting with musicians and family members personally impacted by the tragedy.\u003c/p>\n\u003cp>“It’s so beautifully humanizing, the way that they love each other and look out for each other. I think, because the music is so involved, I became involved,” said Rodriguez. “It was an opportunity to really become invested in something that was not myself and my own musical exploration. It was also like, ‘What do I want to tell the families with this music? How do I want to express my gratitude to them?’”\u003c/p>\n\u003cfigure id=\"attachment_13922067\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg\" alt=\"A room of symphonic musicians plays with music stands and instruments\" width=\"800\" height=\"411\" class=\"size-medium wp-image-13922067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-800x411.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1020x523.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-768x394.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal-1536x788.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/AOC.rehearsal.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Awesöme Orchestra members rehearse ‘Requiem Sinfónica.’\u003cbr> \u003ccite>(Courtesy Arturo Rodriguez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Through nine movements, Rodriguez layers various percussion, brass, woodwind and strings into lush musical scenes that depict coming to terms with death, and a journey toward peace. David Möschler, Awesöme Orchestra artistic director and Requiem Sinfónica conductor, explains that many of the musicians in the 65-piece ensemble have a personal connection to the fire, and have been rehearsing arduously to perfect Rodriguez’s complex composition.\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 music requires a lot of endurance from the players because of its length. Because of the wide range of eclectic, stylistic influences, the music can switch really quickly from one mood to another,” said Möschler. “Any of the players will tell you, it’s not a piece to show up and just sort of sightread. It really requires focus and knowing how it goes, and the style and the sound.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13793868","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Rodriguez spent over three years revising and workshopping the 90-minute requiem, with the entire process spanning six years. And as the various musical elements shifted, his intentions evolved.\u003c/p>\n\u003cp>“I’m starting to look at it [Requiem Sinfónica] as an ask to our political leaders and social leaders to allow us to have more of a voice,” said Rodriguez. “What does a safe artist’s space look like? How do we take care of the people that essentially create the culture that life is based on? These are questions that I want answered.” \u003c/p>\n\u003cp>On Saturday, the concert hall will fill with the low hum and vibrations of tuning instruments. Swirling with these sounds will be anticipation, grief, celebration and hope — and as family and friends hold one another, their loved ones will continue to live on in the music all around them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Requiem Sinfónica: A Requiem Without Words’ premieres Saturday, Dec. 3, at the Malonga Casquelord Center for the Arts in Oakland. Attendance is free. In-person seats are limited; a \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSe2h0-cz_kL9WySNOpDadnFsyRWHUdW_J5rOdWlt-aoLjWhAg/viewform\">livestream link is available\u003c/a> upon RSVP. \u003ca href=\"https://www.eventbrite.com/e/awesome-orchestra-presents-requiem-sinfonica-requiem-without-words-tickets-420791989167\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13922065/requiem-sinfonica-ghost-ship","authors":["11813"],"programs":["arts_140"],"categories":["arts_1","arts_69","arts_1564"],"tags":["arts_15393","arts_1559","arts_1627","arts_2819","arts_1143","arts_585"],"featImg":"arts_13922066","label":"arts_140"},"arts_13908910":{"type":"posts","id":"arts_13908910","meta":{"index":"posts_1591205157","site":"arts","id":"13908910","score":null,"sort":[1643928032000]},"guestAuthors":[],"slug":"beast-nest-sicko-sharmi-basu-ghost-ship-ratskin-records","title":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms","publishDate":1643928032,"format":"standard","headTitle":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>An instrumental album about grief might make you imagine listening to calming tones in the dark. But \u003ca href=\"http://www.sharmi.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Sharmi Basu\u003c/a>’s new release as Beast Nest, \u003ci>Sicko\u003c/i> (\u003ca href=\"https://ratskin.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a>), splashes the canvas—no, actually, the wall—with all the strange, contradictory emotional hues that accompany healing.\u003c/p>\n\u003cp>Basu composed \u003ci>Sicko\u003c/i> in the years since losing close friends and collaborators in the 2016 Ghost Ship fire, which killed \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener noreferrer\">36 Oakland partygoers\u003c/a>. Billed as a “freak 4 freak, crazy 4 crazy wet blankie,” the album’s six electronic tracks embrace the messiness of grief.\u003c/p>\n\u003cp>As danceable beats guide the listener from abstract to accessible terrain, \u003ci>Sicko\u003c/i> takes us on an emotional ride that opens with the ambient, droning tones of a meditation. Quickly, sci-fi blips and bloops interrupt the connection to what sounds like a dispatch from the spiritual realm. Electronic noise blacks out pretty melodies like a swipe of spray paint. But moments of joy and hope bubble up as whimsical, fuzzy sounds, conjuring the textures of Koosh balls and cotton candy.\u003c/p>\n\u003cp>The compositions flow like the ups and downs that Basu went through in the months and years that followed the tragedy. “There was so much cuckoo energy going on, like any time you entered a space the grief was so thick you could touch it,” says Basu, who has been intimately involved in the Bay Area’s music scene for years as a performer, educator and executive director of Ratskin Records. Their work (notably their “\u003ca href=\"http://www.sharmi.info/decolonizing-sound-workshop\" target=\"_blank\" rel=\"noopener noreferrer\">Decolonizing Sound\u003c/a>” workshop) has appeared in major museums and universities, but they’ve stayed firmly rooted in the D.I.Y. underground scene.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1141726104/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Ghost Ship, Basu’s way of coping with so much loss was to throw themself into organizing mutual aid efforts and fundraisers for the fire survivors, victims’ loved ones and the displaced warehouse tenants. They attended funerals and vigils, and spoke out in the media about how the Bay Area’s unaffordable housing market forces artists to live and perform in unsafe conditions. And they showed up for peers by attending and playing as many shows as possible.\u003c/p>\n\u003cp>“I didn’t know how to be alone during that time,” Basu says.\u003c/p>\n\u003cp>Other people didn’t either, and powerful moments of togetherness came with inevitable tensions. Many people’s mental health suffered. “There were just so many different hard emotions that were bumping up against each other,” Basu says, calling the time “chaotic.”\u003c/p>\n\u003cp>They have a sense of humor about it all on \u003ci>Sicko\u003c/i>, which contains song titles like “Ur Doing Great Sweaty” and “Kim, People are Dying,” both references to \u003ca href=\"https://knowyourmeme.com/memes/youre-doing-amazing-sweetie\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian memes\u003c/a> (the socialite family’s reality show was Basu’s comfort viewing during the most isolating moments of the pandemic).\u003c/p>\n\u003cp>Amid the levity, other tracks reveal the enormity of the artist’s loss. One simply titled “Jsun” pays tribute to musician and illustrator \u003ca href=\"https://www.kqed.org/arts/12479036/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun McCarty\u003c/a>. He and Basu dated for two years while Basu was getting their MFA in electronic music at Mills College. Jsun was also close friends, musical collaborators and roommates with Ratskin Records co-founder Mike Daddona, and Basu practically lived at their house during the relationship. [aside postid='arts_13816362']\u003c/p>\n\u003cp>“He just supported me so intensely around that time, especially around my music stuff in a way I really hadn’t had anyone do before,” Basu says. On the track named in his honor, there’s a weighty sadness. A sparse melody becomes increasingly abstract until glitchy static takes over and eventually quiets down. It’s as if the track is a portal to what might lie beyond.\u003c/p>\n\u003cp>After Ghost Ship and the COVID-19 pandemic—and with the ever-increasing cost of living—Oakland’s experimental, underground arts scene is definitely still here. But the free-spirited sense of possibility has given way to tough realities. “It’s difficult to keep in touch with each other,” says Basu. “And I think it’s like, we still don’t know how to hold each other in collective grief as well as we would like to.”\u003c/p>\n\u003cfigure id=\"attachment_13908924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/sharmi2-800x533.jpg\" alt=\"A portrait of electronic musician Sharmi Basu with their dog Beni at the Oakland rose garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu and their dog, Beni. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to facilitate better communication, Basu’s vinyl release of \u003ci>Sicko\u003c/i> comes with a workbook with 50 questions about conflict and repair. The offering came out of their ongoing \u003ca href=\"http://www.sharmi.info/self-investigations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Self Investigations\u003c/i>\u003c/a> project, which has included interactive video installations, performance art pieces and workshops. “It first came out of thinking a lot about accountability and the ways that accountability processes fail within arts communities, within radical organizing communities,” says Basu, who is a trained conflict mediator.\u003c/p>\n\u003cp>“We need to learn how to work through shit together if we’re going to actually be able to organize, resist and have joy,” the artist explains. In their artist statement for \u003ci>Sicko\u003c/i>, they thank the people that stuck by them despite some “not cute behavior” and listened when Basu “call[ed] them out on the same.”\u003c/p>\n\u003cp>Up next, Basu has a residency at \u003ca href=\"https://www.temescalartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Temescal Art Center\u003c/a> starting in May, where they’ll continue their \u003ci>Self Investigations\u003c/i> project with an interactive installation that will cocoon visitors in a soothing environment and invite them to answer the self-reflection prompts from the workbook. (One light piece is activated by squeezing a teddy bear.) [aside postid='arts_13881725']\u003c/p>\n\u003cp>And, related to the trauma-informed thinking around \u003ci>Sicko\u003c/i>, the core Ratskin Records team of Basu, Daddona and Tieraney Carter are working on a virtual venue called \u003ca href=\"http://www.sharmi.info/news-wav/2021/12/2/eggwater-holosuites-preview-of-mixed-reality-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records Holosuites\u003c/a>, while deepening their understanding of accessibility and disability justice activism. (A preview of Holosuites was featured in a \u003ca href=\"https://soex.org/projects-exhibitions/interconnected\" target=\"_blank\" rel=\"noopener noreferrer\">juried group show last fall\u003c/a> at the San Francisco gallery Southern Exposure, where Basu works as an administrator by day.)\u003c/p>\n\u003cp>Virtual shows might have looked like they would fall out of favor when COVID vaccines first became available a year ago. But the unpredictability of the virus has proven that independent artists need to have multiple modes of performing and connecting with audiences.\u003c/p>\n\u003cp>“There’s so many different reasons people can’t go to shows, like accessibility physically if there’s stairs, if the door is too heavy, if the air is too cold—there’s all these things that we don’t think about. And then like, if your abusive ex is out at the show, or you work until 9pm or 10pm, or you have kids at home,” they explain. [aside postid='arts_13893843']\u003c/p>\n\u003cp>It’s that desire to create more nourishing and accepting spaces that has made Basu’s work so impactful. And if the past few years have taught us anything, it’s that alternative platforms can model how to best serve the physical and mental health needs of both audiences and artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With \u003ci>Sicko\u003c/i>, Basu doesn’t come to us fully healed, with some profound insight that makes meaning out of all this senseless tragedy. But in opening up their scars, they let their listeners know that they’re not alone.\u003c/p>\n\n","blocks":[],"excerpt":"Composed in the aftermath of the Ghost Ship fire, the album soundtracks the many contradictory emotions of loss. ","status":"publish","parent":0,"modified":1705007243,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=1141726104/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1218},"headData":{"title":"After Ghost Ship, Beast Nest's 'Sicko' Holds Space for Grief | KQED","description":"The artist's music and projects with Ratskin Records are inspiring conversations about mental health and disability justice.","ogTitle":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms","ogDescription":"Composed in the aftermath of the Ghost Ship fire, the album soundtracks the many contradictory emotions of loss.","ogImgId":"","twTitle":"Beast Nest’s ‘Sicko’ Holds Space for Grief In All Its Messy Forms","twDescription":"Composed in the aftermath of the Ghost Ship fire, the album soundtracks the many contradictory emotions of loss.","twImgId":"","socialTitle":"After Ghost Ship, Beast Nest's 'Sicko' Holds Space for Grief %%page%% %%sep%% KQED","socialDescription":"The artist's music and projects with Ratskin Records are inspiring conversations about mental health and disability justice."},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","path":"/arts/13908910/beast-nest-sicko-sharmi-basu-ghost-ship-ratskin-records","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>An instrumental album about grief might make you imagine listening to calming tones in the dark. But \u003ca href=\"http://www.sharmi.info/\" target=\"_blank\" rel=\"noopener noreferrer\">Sharmi Basu\u003c/a>’s new release as Beast Nest, \u003ci>Sicko\u003c/i> (\u003ca href=\"https://ratskin.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records\u003c/a>), splashes the canvas—no, actually, the wall—with all the strange, contradictory emotional hues that accompany healing.\u003c/p>\n\u003cp>Basu composed \u003ci>Sicko\u003c/i> in the years since losing close friends and collaborators in the 2016 Ghost Ship fire, which killed \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener noreferrer\">36 Oakland partygoers\u003c/a>. Billed as a “freak 4 freak, crazy 4 crazy wet blankie,” the album’s six electronic tracks embrace the messiness of grief.\u003c/p>\n\u003cp>As danceable beats guide the listener from abstract to accessible terrain, \u003ci>Sicko\u003c/i> takes us on an emotional ride that opens with the ambient, droning tones of a meditation. Quickly, sci-fi blips and bloops interrupt the connection to what sounds like a dispatch from the spiritual realm. Electronic noise blacks out pretty melodies like a swipe of spray paint. But moments of joy and hope bubble up as whimsical, fuzzy sounds, conjuring the textures of Koosh balls and cotton candy.\u003c/p>\n\u003cp>The compositions flow like the ups and downs that Basu went through in the months and years that followed the tragedy. “There was so much cuckoo energy going on, like any time you entered a space the grief was so thick you could touch it,” says Basu, who has been intimately involved in the Bay Area’s music scene for years as a performer, educator and executive director of Ratskin Records. Their work (notably their “\u003ca href=\"http://www.sharmi.info/decolonizing-sound-workshop\" target=\"_blank\" rel=\"noopener noreferrer\">Decolonizing Sound\u003c/a>” workshop) has appeared in major museums and universities, but they’ve stayed firmly rooted in the D.I.Y. underground scene.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1141726104/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\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>After Ghost Ship, Basu’s way of coping with so much loss was to throw themself into organizing mutual aid efforts and fundraisers for the fire survivors, victims’ loved ones and the displaced warehouse tenants. They attended funerals and vigils, and spoke out in the media about how the Bay Area’s unaffordable housing market forces artists to live and perform in unsafe conditions. And they showed up for peers by attending and playing as many shows as possible.\u003c/p>\n\u003cp>“I didn’t know how to be alone during that time,” Basu says.\u003c/p>\n\u003cp>Other people didn’t either, and powerful moments of togetherness came with inevitable tensions. Many people’s mental health suffered. “There were just so many different hard emotions that were bumping up against each other,” Basu says, calling the time “chaotic.”\u003c/p>\n\u003cp>They have a sense of humor about it all on \u003ci>Sicko\u003c/i>, which contains song titles like “Ur Doing Great Sweaty” and “Kim, People are Dying,” both references to \u003ca href=\"https://knowyourmeme.com/memes/youre-doing-amazing-sweetie\" target=\"_blank\" rel=\"noopener noreferrer\">Kardashian memes\u003c/a> (the socialite family’s reality show was Basu’s comfort viewing during the most isolating moments of the pandemic).\u003c/p>\n\u003cp>Amid the levity, other tracks reveal the enormity of the artist’s loss. One simply titled “Jsun” pays tribute to musician and illustrator \u003ca href=\"https://www.kqed.org/arts/12479036/jason-jsun-mccarty-boundary-pushing-sound-artist-and-illustrator\" target=\"_blank\" rel=\"noopener noreferrer\">Jsun McCarty\u003c/a>. He and Basu dated for two years while Basu was getting their MFA in electronic music at Mills College. Jsun was also close friends, musical collaborators and roommates with Ratskin Records co-founder Mike Daddona, and Basu practically lived at their house during the relationship. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13816362","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He just supported me so intensely around that time, especially around my music stuff in a way I really hadn’t had anyone do before,” Basu says. On the track named in his honor, there’s a weighty sadness. A sparse melody becomes increasingly abstract until glitchy static takes over and eventually quiets down. It’s as if the track is a portal to what might lie beyond.\u003c/p>\n\u003cp>After Ghost Ship and the COVID-19 pandemic—and with the ever-increasing cost of living—Oakland’s experimental, underground arts scene is definitely still here. But the free-spirited sense of possibility has given way to tough realities. “It’s difficult to keep in touch with each other,” says Basu. “And I think it’s like, we still don’t know how to hold each other in collective grief as well as we would like to.”\u003c/p>\n\u003cfigure id=\"attachment_13908924\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13908924\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/02/sharmi2-800x533.jpg\" alt=\"A portrait of electronic musician Sharmi Basu with their dog Beni at the Oakland rose garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/02/sharmi2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sharmi Basu and their dog, Beni. \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an effort to facilitate better communication, Basu’s vinyl release of \u003ci>Sicko\u003c/i> comes with a workbook with 50 questions about conflict and repair. The offering came out of their ongoing \u003ca href=\"http://www.sharmi.info/self-investigations\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Self Investigations\u003c/i>\u003c/a> project, which has included interactive video installations, performance art pieces and workshops. “It first came out of thinking a lot about accountability and the ways that accountability processes fail within arts communities, within radical organizing communities,” says Basu, who is a trained conflict mediator.\u003c/p>\n\u003cp>“We need to learn how to work through shit together if we’re going to actually be able to organize, resist and have joy,” the artist explains. In their artist statement for \u003ci>Sicko\u003c/i>, they thank the people that stuck by them despite some “not cute behavior” and listened when Basu “call[ed] them out on the same.”\u003c/p>\n\u003cp>Up next, Basu has a residency at \u003ca href=\"https://www.temescalartcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Temescal Art Center\u003c/a> starting in May, where they’ll continue their \u003ci>Self Investigations\u003c/i> project with an interactive installation that will cocoon visitors in a soothing environment and invite them to answer the self-reflection prompts from the workbook. (One light piece is activated by squeezing a teddy bear.) \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13881725","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And, related to the trauma-informed thinking around \u003ci>Sicko\u003c/i>, the core Ratskin Records team of Basu, Daddona and Tieraney Carter are working on a virtual venue called \u003ca href=\"http://www.sharmi.info/news-wav/2021/12/2/eggwater-holosuites-preview-of-mixed-reality-festival\" target=\"_blank\" rel=\"noopener noreferrer\">Ratskin Records Holosuites\u003c/a>, while deepening their understanding of accessibility and disability justice activism. (A preview of Holosuites was featured in a \u003ca href=\"https://soex.org/projects-exhibitions/interconnected\" target=\"_blank\" rel=\"noopener noreferrer\">juried group show last fall\u003c/a> at the San Francisco gallery Southern Exposure, where Basu works as an administrator by day.)\u003c/p>\n\u003cp>Virtual shows might have looked like they would fall out of favor when COVID vaccines first became available a year ago. But the unpredictability of the virus has proven that independent artists need to have multiple modes of performing and connecting with audiences.\u003c/p>\n\u003cp>“There’s so many different reasons people can’t go to shows, like accessibility physically if there’s stairs, if the door is too heavy, if the air is too cold—there’s all these things that we don’t think about. And then like, if your abusive ex is out at the show, or you work until 9pm or 10pm, or you have kids at home,” they explain. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13893843","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s that desire to create more nourishing and accepting spaces that has made Basu’s work so impactful. And if the past few years have taught us anything, it’s that alternative platforms can model how to best serve the physical and mental health needs of both audiences and artists.\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>With \u003ci>Sicko\u003c/i>, Basu doesn’t come to us fully healed, with some profound insight that makes meaning out of all this senseless tragedy. But in opening up their scars, they let their listeners know that they’re not alone.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13908910/beast-nest-sicko-sharmi-basu-ghost-ship-ratskin-records","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_9693","arts_10342","arts_10278","arts_1627","arts_4773","arts_3140"],"featImg":"arts_13908923","label":"arts"},"arts_13904626":{"type":"posts","id":"arts_13904626","meta":{"index":"posts_1591205157","site":"arts","id":"13904626","score":null,"sort":[1634241433000]},"guestAuthors":[],"slug":"ghostship-halloween-party-warehouse-fire-survivors","title":"‘Ghostship’ Party Changes Name After Fire Survivors Speak Out","publishDate":1634241433,"format":"standard","headTitle":"‘Ghostship’ Party Changes Name After Fire Survivors Speak Out | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Alexandrea Archuleta was at home in Denver on Wednesday when she saw a sponsored post on Instagram for an EDM boat party in Alameda called “Ghostship! The Halloween Cruise” from a promoter called \u003ca href=\"https://www.discolabevents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DiscoLab Events\u003c/a>. “It was just instant alarm and trigger. It’s kind of unbelievable, in a way,” said the musician.\u003c/p>\n\u003cp>She relocated from Oakland to Colorado to get away from the trauma of surviving the 2016 warehouse fire that killed \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener noreferrer\">36 musicians and partygoers\u003c/a>, many of whom were her musical collaborators and close friends.\u003c/p>\n\u003cp>Archuleta and several other people from the Oakland music scene began to comment on and private message the party’s Instagram account, attempting to ask them to change the name out of respect for survivors and victims. The account, whose owners are unknown, began deleting critical comments and blocking people who spoke out.\u003c/p>\n\u003cp>“We’re not trying to shut down the party, we’re just trying to have the name changed,” said Archuleta. “This community doesn’t need that kind of disconnected, tone-deaf reminder of something we have to remember every year and every day.” [aside postid='arts_13816362']\u003c/p>\n\u003cp>“There’s people still mourning, hella people and hella families,” said DJ and event promoter Guerrilla Davis, who was blocked by the Ghostship Events account.\u003c/p>\n\u003cp>He pointed out that the name of the event was offensive not only to victims and survivors, but to the people who lost their housing and art spaces in the aftermath of the fire. In response to the tragedy, \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\" target=\"_blank\" rel=\"noopener noreferrer\">the city began cracking down on unpermitted live-work warehouses\u003c/a> occupied by artists, often because they lacked other affordable places to live and create. As a result, Oakland lost many of the underground venues that nurtured experimental art and music.\u003c/p>\n\u003cp>“A lot of people got displaced,” Davis said. “The \u003ca href=\"https://www.kqed.org/arts/13839638/fire-inspection-at-oakland-art-space-prompts-renegade-show-at-lake-merritt\" target=\"_blank\" rel=\"noopener noreferrer\">first art show\u003c/a> I had in the Bay got shut down because of the warehouse enforcement.”\u003c/p>\n\u003cp>As more people began to sound off on Instagram, the Ghostship Events account posted a statement at around 4pm Wednesday saying that it was too late to change the name. “We want to take a moment to honor the lost friends and family with a moment of silence, announcement, and memorial wall on the ship. With 16 days left before the event, the community wants us to change the name instead of making these people known to a group of people that has no idea of the fire,” the account wrote.\u003c/p>\n\u003cp>Survivors and friends of the victims grew more incensed. “I feel like that’s bullshit,” says Grompi Green, a DJ and event producer who knew several of the victims. “I don’t think it takes that much effort to change a name.”\u003c/p>\n\u003cp>About two hours later, the statement was deleted, and the Ghostship Events account became \u003ca href=\"https://www.instagram.com/hallowship/\" target=\"_blank\" rel=\"noopener noreferrer\">Hallowship Events\u003c/a>. Still, the old promotional materials and ticket website with the Ghostship name remain up, and no apology or further acknowledgement has been posted publicly. In an email to KQED, the promoter said new flyers were forthcoming.\u003c/p>\n\u003cp>“We, like many bay area natives, were un aware of this tragic event,” DiscoLab Events wrote to KQED via email. The owner of the account refused to disclose their identity. “The event was announced in July this year and we received positive feedback up until a couple days ago. … We do need a couple days to create new content and hope the community can be patient.”\u003c/p>\n\u003cp>DiscoLabs Events’ claims of ignorance surprised most of the people interviewed for this story. The warehouse fire made international headlines, and received local and national news coverage up until earlier this year, as the \u003ca href=\"https://www.kqed.org/news/11863824/ghost-ship-fire-defendant-derick-almena-to-serve-sentence-at-home\" target=\"_blank\" rel=\"noopener noreferrer\">trial of master tenant Derick Almena concluded in March\u003c/a>. A Google search of the words “ghost ship” yields results about the fire on the first page.\u003c/p>\n\u003cp>This is also not the first controversy concerning use of the name. In 2017, \u003ca href=\"https://sfist.com/2017/07/26/popular_pier_70_halloween_party_gho/\" target=\"_blank\" rel=\"noopener noreferrer\">a popular, different Halloween party\u003c/a> changed its name out of respect for the victims. And in 2019, authors Ayelet Waldman and Michael Chabon scrapped \u003ca href=\"https://www.kqed.org/arts/13871408/proposed-ghost-ship-tv-show-from-michael-chabon-and-ayelet-waldman-draws-ire\" target=\"_blank\" rel=\"noopener noreferrer\">plans for a CBS TV drama series about the tragedy\u003c/a> after people accused them of using the story for personal gain.\u003c/p>\n\u003cp>“We googled ghostship cruise and the movie popped up. Nothing of the fire came up. Just the movie and other cruise companies,” the DiscoLab party promoter told KQED.\u003c/p>\n\u003cp>Survivors KQED spoke with said they appreciate the name change and are still waiting for a real apology. “Last time I saw it, it seemed like they were giving lots of excuses,” says Dean Bonilla, who was placed on a missing persons list in 2016 because they were headed to the party when the fire erupted. “They never actually gave an apology, and they weren’t actually accountable to what they did.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"“This community doesn’t need that kind of disconnected, tone-deaf reminder,” says Alexandrea Archuleta.","status":"publish","parent":0,"modified":1705007615,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":831},"headData":{"title":"‘Ghostship’ Party Changes Name After Fire Survivors Speak Out | KQED","description":"“This community doesn’t need that kind of disconnected, tone-deaf reminder,” says Alexandrea Archuleta.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13904626/ghostship-halloween-party-warehouse-fire-survivors","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Alexandrea Archuleta was at home in Denver on Wednesday when she saw a sponsored post on Instagram for an EDM boat party in Alameda called “Ghostship! The Halloween Cruise” from a promoter called \u003ca href=\"https://www.discolabevents.com/\" target=\"_blank\" rel=\"noopener noreferrer\">DiscoLab Events\u003c/a>. “It was just instant alarm and trigger. It’s kind of unbelievable, in a way,” said the musician.\u003c/p>\n\u003cp>She relocated from Oakland to Colorado to get away from the trauma of surviving the 2016 warehouse fire that killed \u003ca href=\"https://www.kqed.org/ghostshipmemorial\" target=\"_blank\" rel=\"noopener noreferrer\">36 musicians and partygoers\u003c/a>, many of whom were her musical collaborators and close friends.\u003c/p>\n\u003cp>Archuleta and several other people from the Oakland music scene began to comment on and private message the party’s Instagram account, attempting to ask them to change the name out of respect for survivors and victims. The account, whose owners are unknown, began deleting critical comments and blocking people who spoke out.\u003c/p>\n\u003cp>“We’re not trying to shut down the party, we’re just trying to have the name changed,” said Archuleta. “This community doesn’t need that kind of disconnected, tone-deaf reminder of something we have to remember every year and every day.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13816362","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s people still mourning, hella people and hella families,” said DJ and event promoter Guerrilla Davis, who was blocked by the Ghostship Events account.\u003c/p>\n\u003cp>He pointed out that the name of the event was offensive not only to victims and survivors, but to the people who lost their housing and art spaces in the aftermath of the fire. In response to the tragedy, \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\" target=\"_blank\" rel=\"noopener noreferrer\">the city began cracking down on unpermitted live-work warehouses\u003c/a> occupied by artists, often because they lacked other affordable places to live and create. As a result, Oakland lost many of the underground venues that nurtured experimental art and music.\u003c/p>\n\u003cp>“A lot of people got displaced,” Davis said. “The \u003ca href=\"https://www.kqed.org/arts/13839638/fire-inspection-at-oakland-art-space-prompts-renegade-show-at-lake-merritt\" target=\"_blank\" rel=\"noopener noreferrer\">first art show\u003c/a> I had in the Bay got shut down because of the warehouse enforcement.”\u003c/p>\n\u003cp>As more people began to sound off on Instagram, the Ghostship Events account posted a statement at around 4pm Wednesday saying that it was too late to change the name. “We want to take a moment to honor the lost friends and family with a moment of silence, announcement, and memorial wall on the ship. With 16 days left before the event, the community wants us to change the name instead of making these people known to a group of people that has no idea of the fire,” the account wrote.\u003c/p>\n\u003cp>Survivors and friends of the victims grew more incensed. “I feel like that’s bullshit,” says Grompi Green, a DJ and event producer who knew several of the victims. “I don’t think it takes that much effort to change a name.”\u003c/p>\n\u003cp>About two hours later, the statement was deleted, and the Ghostship Events account became \u003ca href=\"https://www.instagram.com/hallowship/\" target=\"_blank\" rel=\"noopener noreferrer\">Hallowship Events\u003c/a>. Still, the old promotional materials and ticket website with the Ghostship name remain up, and no apology or further acknowledgement has been posted publicly. In an email to KQED, the promoter said new flyers were forthcoming.\u003c/p>\n\u003cp>“We, like many bay area natives, were un aware of this tragic event,” DiscoLab Events wrote to KQED via email. The owner of the account refused to disclose their identity. “The event was announced in July this year and we received positive feedback up until a couple days ago. … We do need a couple days to create new content and hope the community can be patient.”\u003c/p>\n\u003cp>DiscoLabs Events’ claims of ignorance surprised most of the people interviewed for this story. The warehouse fire made international headlines, and received local and national news coverage up until earlier this year, as the \u003ca href=\"https://www.kqed.org/news/11863824/ghost-ship-fire-defendant-derick-almena-to-serve-sentence-at-home\" target=\"_blank\" rel=\"noopener noreferrer\">trial of master tenant Derick Almena concluded in March\u003c/a>. A Google search of the words “ghost ship” yields results about the fire on the first page.\u003c/p>\n\u003cp>This is also not the first controversy concerning use of the name. In 2017, \u003ca href=\"https://sfist.com/2017/07/26/popular_pier_70_halloween_party_gho/\" target=\"_blank\" rel=\"noopener noreferrer\">a popular, different Halloween party\u003c/a> changed its name out of respect for the victims. And in 2019, authors Ayelet Waldman and Michael Chabon scrapped \u003ca href=\"https://www.kqed.org/arts/13871408/proposed-ghost-ship-tv-show-from-michael-chabon-and-ayelet-waldman-draws-ire\" target=\"_blank\" rel=\"noopener noreferrer\">plans for a CBS TV drama series about the tragedy\u003c/a> after people accused them of using the story for personal gain.\u003c/p>\n\u003cp>“We googled ghostship cruise and the movie popped up. Nothing of the fire came up. Just the movie and other cruise companies,” the DiscoLab party promoter told KQED.\u003c/p>\n\u003cp>Survivors KQED spoke with said they appreciate the name change and are still waiting for a real apology. “Last time I saw it, it seemed like they were giving lots of excuses,” says Dean Bonilla, who was placed on a missing persons list in 2016 because they were headed to the party when the fire erupted. “They never actually gave an apology, and they weren’t actually accountable to what they did.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904626/ghostship-halloween-party-warehouse-fire-survivors","authors":["11387"],"categories":["arts_1","arts_235"],"tags":["arts_10278","arts_1559","arts_1627"],"featImg":"arts_13813563","label":"arts"},"arts_13874382":{"type":"posts","id":"arts_13874382","meta":{"index":"posts_1591205157","site":"arts","id":"13874382","score":null,"sort":[1580867056000]},"guestAuthors":[],"slug":"state-senator-introduces-legislation-to-protect-live-work-and-warehouse-residences","title":"State Senator Introduces Legislation to Protect Live-Work and Warehouse Residences","publishDate":1580867056,"format":"standard","headTitle":"State Senator Introduces Legislation to Protect Live-Work and Warehouse Residences | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>State Sen. Nancy Skinner on Monday introduced legislation designed to promote safety in California live-work and warehouse residences while protecting tenants from displacement. [aside postID=news_11764921]\u003c/p>\n\u003cp>\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201920200SB906\" target=\"_blank\" rel=\"noopener noreferrer\">Senate Bill 906\u003c/a>, co-sponsored by the City of Oakland, would give property owners more time to correct non-life-threatening violations that could otherwise motivate them to evict tenants, and also update state live-work code that effectively outlaws many communal residences.\u003c/p>\n\u003cp>The legislation aims to support live-work and warehouse residences popular among artists and musicians. The Dec. 2016 Ghost Ship fire that killed 36 at an unpermitted warehouse venue and residence in East Oakland brought intense scrutiny to such alternative cohousing spaces, prompting many property owners to displace tenants instead of addressing substandard conditions.\u003c/p>\n\u003cp>Skinner, who represents the 9th Senate District in the East Bay, said in a statement that current law gives California cities little flexibility to work with property owners and tenants in such situations. Officials often have a difficult choice between red-tagging buildings, forcing eviction; mandating upgrades that render the housing unaffordable for current tenants; or ignoring potentially hazardous conditions. \u003c/p>\n\u003cp>“California’s housing crisis demands that we give cities the tools they need to protect existing housing while making it safer, especially live-work and warehouse spaces,” Skinner said. “SB 906 is a necessary tool to protect and retain live-work and warehouse residences.” \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland Mayor Libby Schaaf and Oakland City Council President Rebecca Kaplan also offered statements supporting the legislation for fostering collaboration between city officials and property owners. This legislation, if passed, could help continue Oakland’s legacy of communal artist housing and workspace. \u003c/p>\n\u003cp>The proposed bill amends one section of California’s health and safety code and adds another. \u003c/p>\n\u003cp>The amendment removes what Skinner and live-work advocates call a woefully outdated restriction on the number of residents allowed to share “joint living and working quarters” (currently, four unrelated persons). The addition allows owners of buildings deemed code-deficient to request an enforcement delay of as many as seven years if the violations don’t threaten building occupants’ health and safety.\u003c/p>\n\u003cp>Oakland live-work architect Thomas Dolan, who co-founded the advocacy group \u003ca href=\"https://saferdiyspaces.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Safer DIY Spaces\u003c/a> after the Ghost Ship fire, said in an interview that removing the state limit on live-work residents would help clear a path to legalization for many spaces he’s visited as a consultant. \u003c/p>\n\u003cp>However, Dolan also urged Oakland city officials to reinstate a more comprehensive municipal live-work code they removed after the Ghost Ship fire; Dolan helped author the code. “That’s putting a dead stop on DIY’s ability to do its job,” he said of its removal. \u003c/p>\n\u003cp>[aside link1='https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins,Evictions, Ghost Ship Fire Pushed Oakland Artists to Margins']\u003c/p>\n\u003cp>Currently any live-work space with more than four residents must pursue a conditional-use permit to exceed the state limit, an expensive and costly process with no guarantee of success. Safer DIY Spaces director David Keenan said such a permit should be unnecessary: “It should be by-right, if we believe housing is a human right.” \u003c/p>\n\u003cp>Dolan also supports SB 906’s efforts to ease the way for property owners to correct non-life-threatening building violations for the sake of retaining affordable housing for current tenants. Oakland already has a similarly aimed “compliance plan” program, he pointed out, that would be strengthened in tenants’ favor by increasing the amount of time property owners have to address violations.\u003c/p>\n\u003cp>Dolan points out that the legislation doesn’t draw a clear distinction between habitability issues, for example, a window slightly narrower than modern building standards require, and immediate life-safety risks. “Life safety no one should compromise on—that needs immediate addressing,” Dolan said. “But the nuance between that and a habitability shortcoming is being overlooked here.”\u003c/p>\n\u003cp>Oakland is recognized as a hub of commercial and warehouse property adapted by artists for residential, performance and fabrication purposes. But climbing rent and competition for commercial space have in recent years threatened the often unspoken agreements between landlords and residential tenants of buildings not technically approved or suitable for residential habitation. \u003c/p>\n\u003cp>The Dec. 2016 Ghost Ship warehouse fire, which broke out during an electronic music event, intensified pressure on unpermitted live-work and warehouse residences. Oakland officials identified unpermitted residences and instructed many owners to “discontinue residential use,” even in the absence of life-threatening conditions. Other property owners moved to evict warehouse tenants proactively amid the possibility of civil liability for Ghost Ship’s landlord, Chor Ng.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oakland has a long and proud history of fostering affordable joint living and work spaces, especially for our vibrant arts and maker communities,” Schaaf, the mayor of Oakland, said in a statement. “But as a city, we must also ensure that people have safe, affordable housing, and are not forced onto the streets and into homelessness.” \u003c/p>\n\n","blocks":[],"excerpt":"Senate Bill 906, co-sponsored by the City of Oakland, promotes safety in live-work and warehouse residences while protecting tenants from displacement. ","status":"publish","parent":0,"modified":1705021358,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":861},"headData":{"title":"State Senator Introduces Legislation to Protect Live-Work and Warehouse Residences | KQED","description":"Senate Bill 906, co-sponsored by the City of Oakland, promotes safety in live-work and warehouse residences while protecting tenants from displacement. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13874382/state-senator-introduces-legislation-to-protect-live-work-and-warehouse-residences","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>State Sen. Nancy Skinner on Monday introduced legislation designed to promote safety in California live-work and warehouse residences while protecting tenants from displacement. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11764921","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://leginfo.legislature.ca.gov/faces/billNavClient.xhtml?bill_id=201920200SB906\" target=\"_blank\" rel=\"noopener noreferrer\">Senate Bill 906\u003c/a>, co-sponsored by the City of Oakland, would give property owners more time to correct non-life-threatening violations that could otherwise motivate them to evict tenants, and also update state live-work code that effectively outlaws many communal residences.\u003c/p>\n\u003cp>The legislation aims to support live-work and warehouse residences popular among artists and musicians. The Dec. 2016 Ghost Ship fire that killed 36 at an unpermitted warehouse venue and residence in East Oakland brought intense scrutiny to such alternative cohousing spaces, prompting many property owners to displace tenants instead of addressing substandard conditions.\u003c/p>\n\u003cp>Skinner, who represents the 9th Senate District in the East Bay, said in a statement that current law gives California cities little flexibility to work with property owners and tenants in such situations. Officials often have a difficult choice between red-tagging buildings, forcing eviction; mandating upgrades that render the housing unaffordable for current tenants; or ignoring potentially hazardous conditions. \u003c/p>\n\u003cp>“California’s housing crisis demands that we give cities the tools they need to protect existing housing while making it safer, especially live-work and warehouse spaces,” Skinner said. “SB 906 is a necessary tool to protect and retain live-work and warehouse residences.” \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>Oakland Mayor Libby Schaaf and Oakland City Council President Rebecca Kaplan also offered statements supporting the legislation for fostering collaboration between city officials and property owners. This legislation, if passed, could help continue Oakland’s legacy of communal artist housing and workspace. \u003c/p>\n\u003cp>The proposed bill amends one section of California’s health and safety code and adds another. \u003c/p>\n\u003cp>The amendment removes what Skinner and live-work advocates call a woefully outdated restriction on the number of residents allowed to share “joint living and working quarters” (currently, four unrelated persons). The addition allows owners of buildings deemed code-deficient to request an enforcement delay of as many as seven years if the violations don’t threaten building occupants’ health and safety.\u003c/p>\n\u003cp>Oakland live-work architect Thomas Dolan, who co-founded the advocacy group \u003ca href=\"https://saferdiyspaces.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Safer DIY Spaces\u003c/a> after the Ghost Ship fire, said in an interview that removing the state limit on live-work residents would help clear a path to legalization for many spaces he’s visited as a consultant. \u003c/p>\n\u003cp>However, Dolan also urged Oakland city officials to reinstate a more comprehensive municipal live-work code they removed after the Ghost Ship fire; Dolan helped author the code. “That’s putting a dead stop on DIY’s ability to do its job,” he said of its removal. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"link1":"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins,Evictions, Ghost Ship Fire Pushed Oakland Artists to Margins","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currently any live-work space with more than four residents must pursue a conditional-use permit to exceed the state limit, an expensive and costly process with no guarantee of success. Safer DIY Spaces director David Keenan said such a permit should be unnecessary: “It should be by-right, if we believe housing is a human right.” \u003c/p>\n\u003cp>Dolan also supports SB 906’s efforts to ease the way for property owners to correct non-life-threatening building violations for the sake of retaining affordable housing for current tenants. Oakland already has a similarly aimed “compliance plan” program, he pointed out, that would be strengthened in tenants’ favor by increasing the amount of time property owners have to address violations.\u003c/p>\n\u003cp>Dolan points out that the legislation doesn’t draw a clear distinction between habitability issues, for example, a window slightly narrower than modern building standards require, and immediate life-safety risks. “Life safety no one should compromise on—that needs immediate addressing,” Dolan said. “But the nuance between that and a habitability shortcoming is being overlooked here.”\u003c/p>\n\u003cp>Oakland is recognized as a hub of commercial and warehouse property adapted by artists for residential, performance and fabrication purposes. But climbing rent and competition for commercial space have in recent years threatened the often unspoken agreements between landlords and residential tenants of buildings not technically approved or suitable for residential habitation. \u003c/p>\n\u003cp>The Dec. 2016 Ghost Ship warehouse fire, which broke out during an electronic music event, intensified pressure on unpermitted live-work and warehouse residences. Oakland officials identified unpermitted residences and instructed many owners to “discontinue residential use,” even in the absence of life-threatening conditions. Other property owners moved to evict warehouse tenants proactively amid the possibility of civil liability for Ghost Ship’s landlord, Chor Ng.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Oakland has a long and proud history of fostering affordable joint living and work spaces, especially for our vibrant arts and maker communities,” Schaaf, the mayor of Oakland, said in a statement. “But as a city, we must also ensure that people have safe, affordable housing, and are not forced onto the streets and into homelessness.” \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13874382/state-senator-introduces-legislation-to-protect-live-work-and-warehouse-residences","authors":["11091"],"categories":["arts_1","arts_235"],"tags":["arts_1118","arts_1559","arts_1627","arts_746","arts_596","arts_1143"],"featImg":"arts_13874385","label":"arts"},"arts_13871408":{"type":"posts","id":"arts_13871408","meta":{"index":"posts_1591205157","site":"arts","id":"13871408","score":null,"sort":[1576195490000]},"guestAuthors":[],"slug":"proposed-ghost-ship-tv-show-from-michael-chabon-and-ayelet-waldman-draws-ire","title":"Proposed Ghost Ship TV Show From Chabon, Waldman Draws Ire [UPDATED]","publishDate":1576195490,"format":"standard","headTitle":"Proposed Ghost Ship TV Show From Chabon, Waldman Draws Ire [UPDATED] | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cem>\u003cstrong>[UPDATE, Dec. 14:\u003c/strong> The Ghost Ship TV series is off. In \u003ca href=\"https://twitter.com/ayeletw/status/1205960793361043457\" rel=\"noopener noreferrer\" target=\"_blank\">a Twitter thread\u003c/a> explaining the decision, Ayelet Waldman has announced that “At this time… we will not be proceeding, and will do our part to leave the families and survivors to their grief and their loss, in the fervent hope that someday they find not just comfort but also a measure of justice.”]\u003c/em>\u003c/p>\n\u003cp>On Dec. 10, Berkeley husband-wife author team \u003ca href=\"https://www.mercurynews.com/2019/12/10/berkeley-authors-chabon-waldman-sign-cbs-production-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Chabon and Ayelet Waldman\u003c/a> announced plans for a TV series about the Ghost Ship fire as part of a multi-year production deal they recently inked with CBS Television Studios.\u003c/p>\n\u003cp>Waldman told KQED in an email that the Ghost Ship project hasn’t yet been pitched or sold; she declined an in-person or phone interview, adding that the show is in early stages of development. She wrote that her children knew some of the fire victims, and that she envisions the show as “an indictment of the power and money that is destroying our communities, but also as a story about loss.”\u003c/p>\n\u003cp>Nonetheless, the news of a possible TV drama about the tragedy, which claimed 36 lives at an underground electronic music party in 2016, angered many of the victims’ loved ones still reeling from trauma and grappling with \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\" target=\"_blank\" rel=\"noopener noreferrer\">evictions of unpermitted artist warehouses\u003c/a> that followed the tragedy. (In 2017, NBC drew ire for making an \u003ca href=\"https://www.kqed.org/arts/12835384/chicago-fire-exploits-ghost-ship-victims-in-a-moral-lowpoint-for-tv\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Chicago Fire\u003c/em>\u003c/a> based on Ghost Ship.)\u003c/p>\n\u003cp>“If you’re even thinking of making some type of TV show or something to profit off of this, before the words even come out of your mouth, you should have backing by the families in some capacity,” says Oakland resident Mark Dias. Two of his friends and coworkers, \u003ca href=\"https://www.kqed.org/arts/12452006/em-bohlka\" target=\"_blank\" rel=\"noopener noreferrer\">Em Bohlka\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/12447104/donna-kellogg\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Kellogg\u003c/a>, were among the victims.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">Just to clarify: The Ghost Ship project will be adapted by journalist Elizabeth Weil, based on her own reporting. \u003ca href=\"https://twitter.com/ayeletw?ref_src=twsrc%5Etfw\">@ayeletw\u003c/a> and I are producing it, under the terms of an overall agreement with CBS Studios that is not for any one story or project in particular.\u003c/p>\n\u003cp>— Michael Chabon (@michaelchabon) \u003ca href=\"https://twitter.com/michaelchabon/status/1204867478662201344?ref_src=twsrc%5Etfw\">December 11, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Dias was disturbed to learn, per Chabon’s tweet responding to criticism from 48 Hills editor Marke Bieschke, that the show will be based on \u003cem>New York Times Magazine\u003c/em> writer Elizabeth Weil’s reporting. Weil’s only coverage of the fire was a \u003ca href=\"https://www.nytimes.com/2018/12/12/magazine/oakland-warehouse-fire-ghost-ship.html\" target=\"_blank\" rel=\"noopener noreferrer\">sympathetic profile of Max Harris\u003c/a>, the defendant who was recently acquitted of 36 counts of manslaughter in a criminal trial. The story painted Harris as a pacifist who unwittingly found himself ensnared in the criminal justice system, and did not focus on the victims or survivors.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That \u003cem>New York Times\u003c/em> profile was inaccurate in so many ways. It was a profile of a person that was told from one perspective, and none of it seemed like it was actually fact-checked against other people who knew him and were around him,” says Dias, calling the piece “out of touch.”\u003c/p>\n\u003cp>“I don’t know anybody that was directly affected by Ghost Ship that read that article and was like, ‘Oh yeah, he’s just some tragic soul that got mixed up in stuff,'” Dias says. [aside postid='arts_13865804']\u003c/p>\n\u003cp>“It’s not [Chabon and Waldman’s] story to tell,” says Chris Zaldua, a San Francisco musician and promoter who was friends with over a dozen of the fire victims. Zaldua’s record label, Left Hand Path, put out a posthumous release by \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a>, a.k.a. Nackt, called \u003cem>Private Property Created Crime\u003c/em>. For Zaldua and many other friends of the victims, the idea of a mainstream, commercial TV drama is at odds with the anti-capitalist beliefs of many of the artists who died in the fire.\u003c/p>\n\u003cp>“What makes it especially tricky is this kind of underground arts and music culture has always existed on the fringe,” Zaldua says, “and because it has never been about commercial success, there have been attempts to tell the story of underground culture in a commercial way and I think mostly they’ve all missed the boat.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">will just say it here. nobody in our small community wants to relive that tragedy on cbs of all places. thanks.\u003c/p>\n\u003cp>— Brandon Nickell (@brandon_nickell) \u003ca href=\"https://twitter.com/brandon_nickell/status/1205232190352588800?ref_src=twsrc%5Etfw\">December 12, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Oakland resident Michael Ferrari expressed similar skepticism. He says that the prevailing narrative of Ghost Ship already glossed over the complex lives and identities of the victims, including his friend \u003ca href=\"https://www.kqed.org/arts/12485542/nicole-denalda-renae\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda Nicole Renae\u003c/a>, whom he met through a network of squatters that occupied empty buildings. He fears a similar phenomenon will occur if the tragedy is given a TV treatment.\u003c/p>\n\u003cp>“TV is not the right medium,” Ferrari says. “A documentary would be first thing I would think of.”\u003c/p>\n\u003cp>“I think it should be called off, period,” says Lo O’Connor, an Oakland resident who also lost multiple friends in the fire. “There has been no break from the sort of spectacle it became, and there’s been no privacy. And I just feel like them saying, ‘We’re going to do this compassionately, we’re going to do this with people in mind,’ is just so empty. There’s nothing there because they’re not listening to the people who were actually affected by this experience, who are so clearly saying, ‘Don’t do this.'”\u003c/p>\n\u003cp>Waldman \u003ca href=\"https://twitter.com/ayeletw/status/1204908539895877632?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">responded on Twitter\u003c/a>, saying she’s open to feedback from the community.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we make this show, I want to make sure it’s not remotely exploitative,” she wrote to KQED. “I would never ever do that.”\u003c/p>\n\n","blocks":[],"excerpt":"Oakland's music community expressed anger and skepticism about the recent tragedy getting the television treatment. ","status":"publish","parent":0,"modified":1705021681,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":973},"headData":{"title":"Proposed Ghost Ship TV Show From Chabon, Waldman Draws Ire [UPDATED] | KQED","description":"Oakland's music community expressed anger and skepticism about the recent tragedy getting the television treatment. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13871408/proposed-ghost-ship-tv-show-from-michael-chabon-and-ayelet-waldman-draws-ire","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>[UPDATE, Dec. 14:\u003c/strong> The Ghost Ship TV series is off. In \u003ca href=\"https://twitter.com/ayeletw/status/1205960793361043457\" rel=\"noopener noreferrer\" target=\"_blank\">a Twitter thread\u003c/a> explaining the decision, Ayelet Waldman has announced that “At this time… we will not be proceeding, and will do our part to leave the families and survivors to their grief and their loss, in the fervent hope that someday they find not just comfort but also a measure of justice.”]\u003c/em>\u003c/p>\n\u003cp>On Dec. 10, Berkeley husband-wife author team \u003ca href=\"https://www.mercurynews.com/2019/12/10/berkeley-authors-chabon-waldman-sign-cbs-production-deal/\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Chabon and Ayelet Waldman\u003c/a> announced plans for a TV series about the Ghost Ship fire as part of a multi-year production deal they recently inked with CBS Television Studios.\u003c/p>\n\u003cp>Waldman told KQED in an email that the Ghost Ship project hasn’t yet been pitched or sold; she declined an in-person or phone interview, adding that the show is in early stages of development. She wrote that her children knew some of the fire victims, and that she envisions the show as “an indictment of the power and money that is destroying our communities, but also as a story about loss.”\u003c/p>\n\u003cp>Nonetheless, the news of a possible TV drama about the tragedy, which claimed 36 lives at an underground electronic music party in 2016, angered many of the victims’ loved ones still reeling from trauma and grappling with \u003ca href=\"https://www.kqed.org/ourturbulentdecade/2016-evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins\" target=\"_blank\" rel=\"noopener noreferrer\">evictions of unpermitted artist warehouses\u003c/a> that followed the tragedy. (In 2017, NBC drew ire for making an \u003ca href=\"https://www.kqed.org/arts/12835384/chicago-fire-exploits-ghost-ship-victims-in-a-moral-lowpoint-for-tv\" target=\"_blank\" rel=\"noopener noreferrer\">episode of \u003cem>Chicago Fire\u003c/em>\u003c/a> based on Ghost Ship.)\u003c/p>\n\u003cp>“If you’re even thinking of making some type of TV show or something to profit off of this, before the words even come out of your mouth, you should have backing by the families in some capacity,” says Oakland resident Mark Dias. Two of his friends and coworkers, \u003ca href=\"https://www.kqed.org/arts/12452006/em-bohlka\" target=\"_blank\" rel=\"noopener noreferrer\">Em Bohlka\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/12447104/donna-kellogg\" target=\"_blank\" rel=\"noopener noreferrer\">Donna Kellogg\u003c/a>, were among the victims.\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">Just to clarify: The Ghost Ship project will be adapted by journalist Elizabeth Weil, based on her own reporting. \u003ca href=\"https://twitter.com/ayeletw?ref_src=twsrc%5Etfw\">@ayeletw\u003c/a> and I are producing it, under the terms of an overall agreement with CBS Studios that is not for any one story or project in particular.\u003c/p>\n\u003cp>— Michael Chabon (@michaelchabon) \u003ca href=\"https://twitter.com/michaelchabon/status/1204867478662201344?ref_src=twsrc%5Etfw\">December 11, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Dias was disturbed to learn, per Chabon’s tweet responding to criticism from 48 Hills editor Marke Bieschke, that the show will be based on \u003cem>New York Times Magazine\u003c/em> writer Elizabeth Weil’s reporting. Weil’s only coverage of the fire was a \u003ca href=\"https://www.nytimes.com/2018/12/12/magazine/oakland-warehouse-fire-ghost-ship.html\" target=\"_blank\" rel=\"noopener noreferrer\">sympathetic profile of Max Harris\u003c/a>, the defendant who was recently acquitted of 36 counts of manslaughter in a criminal trial. The story painted Harris as a pacifist who unwittingly found himself ensnared in the criminal justice system, and did not focus on the victims or survivors.\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>“That \u003cem>New York Times\u003c/em> profile was inaccurate in so many ways. It was a profile of a person that was told from one perspective, and none of it seemed like it was actually fact-checked against other people who knew him and were around him,” says Dias, calling the piece “out of touch.”\u003c/p>\n\u003cp>“I don’t know anybody that was directly affected by Ghost Ship that read that article and was like, ‘Oh yeah, he’s just some tragic soul that got mixed up in stuff,'” Dias says. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13865804","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not [Chabon and Waldman’s] story to tell,” says Chris Zaldua, a San Francisco musician and promoter who was friends with over a dozen of the fire victims. Zaldua’s record label, Left Hand Path, put out a posthumous release by \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener noreferrer\">Johnny Igaz\u003c/a>, a.k.a. Nackt, called \u003cem>Private Property Created Crime\u003c/em>. For Zaldua and many other friends of the victims, the idea of a mainstream, commercial TV drama is at odds with the anti-capitalist beliefs of many of the artists who died in the fire.\u003c/p>\n\u003cp>“What makes it especially tricky is this kind of underground arts and music culture has always existed on the fringe,” Zaldua says, “and because it has never been about commercial success, there have been attempts to tell the story of underground culture in a commercial way and I think mostly they’ve all missed the boat.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-conversation=\"none\">\n\u003cp dir=\"ltr\" lang=\"en\">will just say it here. nobody in our small community wants to relive that tragedy on cbs of all places. thanks.\u003c/p>\n\u003cp>— Brandon Nickell (@brandon_nickell) \u003ca href=\"https://twitter.com/brandon_nickell/status/1205232190352588800?ref_src=twsrc%5Etfw\">December 12, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>Oakland resident Michael Ferrari expressed similar skepticism. He says that the prevailing narrative of Ghost Ship already glossed over the complex lives and identities of the victims, including his friend \u003ca href=\"https://www.kqed.org/arts/12485542/nicole-denalda-renae\" target=\"_blank\" rel=\"noopener noreferrer\">Denalda Nicole Renae\u003c/a>, whom he met through a network of squatters that occupied empty buildings. He fears a similar phenomenon will occur if the tragedy is given a TV treatment.\u003c/p>\n\u003cp>“TV is not the right medium,” Ferrari says. “A documentary would be first thing I would think of.”\u003c/p>\n\u003cp>“I think it should be called off, period,” says Lo O’Connor, an Oakland resident who also lost multiple friends in the fire. “There has been no break from the sort of spectacle it became, and there’s been no privacy. And I just feel like them saying, ‘We’re going to do this compassionately, we’re going to do this with people in mind,’ is just so empty. There’s nothing there because they’re not listening to the people who were actually affected by this experience, who are so clearly saying, ‘Don’t do this.'”\u003c/p>\n\u003cp>Waldman \u003ca href=\"https://twitter.com/ayeletw/status/1204908539895877632?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">responded on Twitter\u003c/a>, saying she’s open to feedback from the community.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“If we make this show, I want to make sure it’s not remotely exploitative,” she wrote to KQED. “I would never ever do that.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871408/proposed-ghost-ship-tv-show-from-michael-chabon-and-ayelet-waldman-draws-ire","authors":["11387"],"categories":["arts_835","arts_235","arts_990"],"tags":["arts_8481","arts_1118","arts_1627"],"featImg":"arts_12447297","label":"arts"},"arts_13870687":{"type":"posts","id":"arts_13870687","meta":{"index":"posts_1591205157","site":"arts","id":"13870687","score":null,"sort":[1575494088000]},"guestAuthors":[],"slug":"evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins","title":"Evictions, Ghost Ship Fire Pushed Oakland Artists to Margins","publishDate":1575494088,"format":"standard","headTitle":"KQED Arts","labelTerm":{"site":"arts"},"content":"\u003cp>\u003cspan style=\"font-weight: 400;\">In 2016, plywood partitions in Oakland warehouses toppled. Rehearsal and performance spaces quieted, and screen-printing presses stilled. Landlords toured hastily-vacated galleries with county sheriffs, and artists rushed to decipher municipal zoning rules in attempts to save their workspace and housing. Collaborative trash sculptures belatedly landed at the dump. Realtors posted advertisements to mural-strewn rollup doors, and chain-link fences enclosed the charred frames of more than one improvised home.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">These scenes marked eviction, destruction and death at many key nodes of Oakland’s cultural landscape. In January of that year, city officials condemned 1919 Market Street, a West Oakland live-work complex that’d housed underground venues including Liminal, Grandma’s House and the Living Room Project. The residents of Ghost Town Gallery, a former creamery with a recording studio and venue, were evicted in June. Weeks later, the tenants of \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Lobot\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, another venue and exhibition space, were displaced after a series of dramatic rent increases. \u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Jeffrey Cheung, the Unity Queer Skateboarding co-founder and Oakland artist known for his paintings of joyous androgynes, developed his large-scale canvas style and launched the publisher Unity Press while renting workspace at Lobot. His rock group, also called Unity, played Lobot’s farewell show along with Squadda B of rap duo Main Attrakionz. “2016 was definitely a turning point,” Cheung says. “Everyone became more desperate for spaces, and trying to make smaller places work—cafes, bookstores. There were new DIY spaces, but they’ve closed, too.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-800x450.jpg\" alt=\"Jeff Cheung (back right) and others prepare for a group show at LoBot Gallery, an unpermitted live-work space in West Oakland that was evicted in 2016. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Cheung (back right) and others prepare for a group show at Lobot Gallery, an unpermitted live-work space in West Oakland that was evicted in 2016. \u003ccite>(Raphael Villet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Also that year, Bay Area 51, a former bus depot in San Francisco’s Bayview neighborhood, expired as a beacon of the city’s waning underground electronic music scene. The eviction of \u003c/span>\u003ca href=\"https://www.kqed.org/arts/11275711/farewell-to-telegraph-beach-oaklands-budget-rock-palace\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Telegraph Beach\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> represented the decline of East Bay punk houses amenable to the ambient chaos of living-room gigs and home recording. Adjacent West Oakland live-work warehouses containing the radical publisher AK Press and an experimental music hub sold to \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/former-ak-press-warehouse-sold-to-tech-co-op-developer-who-demolished-1919-market/Content?oid=5060621\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">a developer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> known for building tech dorms and evicting seniors following a deadly fire the year before. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Then, on Dec. 2, 2016, another fire ignited on the bottom level of the East Oakland warehouse known as Ghost Ship. Dozens of people upstairs at an electronic music event inhaled dense, caustic smoke; days later, the death toll settled at 36. Many of the victims were \u003c/span>\u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">arts community pillars\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, and the tragedy spurred a protracted, wrenching period of grief—tributes, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13816362/saving-the-music-of-ghost-ship-victims-helps-loved-ones-heal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">posthumous albums\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and lyrics like, “I’m a walking mausoleum,” as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13829142/hether-fortune-talks-wax-idols-wild-path-to-their-happy-ending\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Hether Fortune\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> of Wax Idols sang. For subcultures aiming to provide safe spaces for self-expression, it was spiritually crushing. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The fire led to \u003c/span>\u003ca href=\"https://www.kqed.org/news/11777745/prosecutors-will-retry-case-of-ghost-ship-defendant-derick-almena\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">unresolved criminal and civil litigation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, stirring debate about \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13865804/for-oaklands-wounded-music-scene-no-ghost-ship-verdict-could-deliver-justice\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">responsibility for a blaze\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> with no officially determined cause. It also preceded a wave of displacement: Property owners, already beginning to market warehouses to more affluent renters, grew leery of liability. City officials compiled lists of unpermitted residences and venues and instructed owners to “discontinue residential use,” effectively ordering \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">dozens of tenants’ displacement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. The chain of unwritten agreements between tenants, landlords and city officials seemed to break overnight. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Ghost Ship’s effects will continue into the next decade. \u003c/span>\u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Safer DIY Spaces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, a live-work advocacy organization formed after the fire, has assisted tenants of more than 120 residences and art spaces with code-compliance and safety improvements since 2017, according to director David Keenan. Some are currently in delicate permitting processes. At least 20 have been evicted. And despite claims to the contrary, Keenan says city bureaucracy remains generally adversarial. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“Inspectors have told me they’d rather see people outside in tents than in warehouses,” he says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12447297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-12447297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-800x450.jpg\" alt=\"A memorial outside the Oakland warehouse venue Ghost Ship after a fire killed 36 people on Dec. 2.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial outside the Oakland warehouse venue Ghost Ship after a fire killed 36 people on Dec. 3, 2016. \u003ccite>(Photo: Elijah Nouvelage/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Tenants of the Church, a West Oakland warehouse targeted by city officials after the fire, were displaced this summer after more than two years of uncertainty. The Church hosted more than 200 installments of the mononymous filmmaker Tooth’s screening series, Black Hole, between 2011 and 2019, all of them free and often featuring experimental work by visiting international artists. The series also led to the film festival Light Field. A shrine to Joey Casio, an artist and former Church resident who died in the fire, sprawled along a wall until the day of the eviction. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Tooth, who now lives in New York, made Black Hole a free event in order to counter art world gatekeeping, and to encourage people to attend even when they didn’t recognize the programming—a range of canonical art-house and non-narrative abstraction. (Also a hit: Saturday morning cartoons and mimosas.) “It wouldn’t have been financially possible at a space where I didn’t also live,” he says. He also incorporated the Church's architecture into his sound art practice: at the Church’s last event, Tooth used a bow to elicit a thrumming drone from the structure itself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The decline of affordable live-work space, hastened also by cannabis cultivators after California voters legalized recreational use in 2016, has reshaped the volume and variety of artistic production in the Bay Area. The aforementioned places accommodated large-scale works such as murals, sculptures and ostentatiously loud music. They fostered unlikely collaborations through social events that eroded boundaries between artistic disciplines. Importantly, they were also cheap enough to relieve artists of financial pressures, allowing them to pursue ephemeral or immaterial formats rather than making safer, more commercial work. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Similarly flexible, spacious places for artists to live and work have not disappeared completely. But it’s telling that underground dance events are lately occurring outdoors. Cheung, trying to recapture Lobot’s collective spirit through skateboarding, ended up spending more time outside, too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Punk and experimental shows, not long ago found largely in discrete spaces, now gravitate to established venues. Some clubs can approximate the atmosphere of an underground show, but even the most accommodating ones have bottom lines that seem to buffer against creative risk. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-1200x676.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends of the artists who passed away in the Ghost Ship fire remember them at a vigil in 2017. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Since 2016, local music scene figures have also gained more awareness of how underground art spaces contribute to gentrification—thereby hastening their own displacement. Politicians, conspicuously Jerry Brown during his 1999–2007 mayoral tenure, promoted the creative reuse of commercial properties on the premise that an arts reputation would attract investor capital to Oakland. The underground venues that figures such as Brown tacitly condoned enticed transplants to depressed neighborhoods, speeding the turnover of longtime residents. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Recognizing the more pernicious elements of this legacy, artists and activists holding space in Oakland today tend to center communities most susceptible to displacement, and also stress the need to insulate real-estate from the uncertainty of the speculative market.\u003c/span> \u003cspan style=\"font-weight: 400;\">The Oakland Community Land Trust, for example, in 2017 acquired \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\">\u003cspan style=\"font-weight: 400;\">an East Oakland building\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> containing affordable apartments and people of color-led nonprofit storefronts. There and in other remaining \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">\u003cspan style=\"font-weight: 400;\">communal live-work spaces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, collectivizing ownership is on the chore wheel. \u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Brontez Purnell, the musician, writer and dancer, lived in Oakland warehouses for more than a decade until 2014, when he was evicted from Ghost Town Gallery neighbor Sugar Mountain. At Sugar Mountain, where his rent hovered around $460 a month, Purnell wrote his first book and created several records and music videos for his group, The Younger Lovers. He also convened large, experimental dance ensembles, yielding the internationally exhibited 8mm film \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Free Jazz\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. \u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“I was interested in total- or anti-dance,” he says. “So I thought I’d structure my dance company like a punk band—bring dancers and non-dancers to this warehouse and practice.” Purnell, who now lives in a shared home in Oakland, and who in 2018 was called a \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13846060/brontez-purnell-ishmael-reed-honored-in-new-york-times-feature\">\u003cspan style=\"font-weight: 400;\">key contemporary black writer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">The New York Times\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">, groans to remember the dozen-plus roommates and lack of privacy at Sugar Mountain, but describes it as a platform for his career’s second act. “Those were pivotal years,” Purnell says. “The space was instrumental to all of my work today.”\u003c/span>\u003c/p>\n\n","blocks":[],"excerpt":"Tragedy accelerated the displacement of underground havens for noncommercial art and music.","status":"publish","parent":0,"modified":1596230270,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":1434},"headData":{"title":"Evictions, Ghost Ship Fire Pushed Oakland Artists to Margins | KQED","description":"Tragedy accelerated the displacement of underground havens for noncommercial art and music.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"disqusIdentifier":"13870687 https://ww2.kqed.org/arts/?p=13870687","disqusUrl":"https://ww2.kqed.org/arts/2019/12/04/evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins/","disqusTitle":"Evictions, Ghost Ship Fire Pushed Oakland Artists to Margins","templateType":"eod","featuredImageType":"standard","postYear":"2016","postArticleBullets":[{"bullet":"Data firm Cambridge Analytica harvests over 87 million Facebook users’ data, aiding Donald Trump’s election campaign. ","bulletLink":"/forum/2010101864431/what-the-cambridge-analytica-scandal-means-for-facebook-users"},{"bullet":"San Francisco art gallery owner Justin Giarla abruptly leaves the Bay Area after being accused of stealing hundreds of thousands of dollars from dozens of artists.","bulletLink":"/arts/12261048/the-art-of-the-steal"},{"bullet":"Officers from the Oakland Police Department and other agencies are accused of misconduct and exploitation of an underage sex worker. ","bulletLink":"/news/10992840/a-department-in-crisis-yet-another-oakland-police-chief-removed"},{"bullet":"The Anti-Eviction Mapping Project releases a report and interactive map tracking the history of evictions in San Francisco, as well as an archive of stories of displaced people.","bulletLink":"/arts/11740971/we-have-a-right-to-live-here-personal-stories-from-san-franciscos-evicted"}],"path":"/arts/13870687/evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">In 2016, plywood partitions in Oakland warehouses toppled. Rehearsal and performance spaces quieted, and screen-printing presses stilled. Landlords toured hastily-vacated galleries with county sheriffs, and artists rushed to decipher municipal zoning rules in attempts to save their workspace and housing. Collaborative trash sculptures belatedly landed at the dump. Realtors posted advertisements to mural-strewn rollup doors, and chain-link fences enclosed the charred frames of more than one improvised home.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">These scenes marked eviction, destruction and death at many key nodes of Oakland’s cultural landscape. In January of that year, city officials condemned 1919 Market Street, a West Oakland live-work complex that’d housed underground venues including Liminal, Grandma’s House and the Living Room Project. The residents of Ghost Town Gallery, a former creamery with a recording studio and venue, were evicted in June. Weeks later, the tenants of \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/oaklands-housing-crisis-also-displacing-its-arts-and-music-underground/Content?oid=4979500\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Lobot\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, another venue and exhibition space, were displaced after a series of dramatic rent increases. \u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Jeffrey Cheung, the Unity Queer Skateboarding co-founder and Oakland artist known for his paintings of joyous androgynes, developed his large-scale canvas style and launched the publisher Unity Press while renting workspace at Lobot. His rock group, also called Unity, played Lobot’s farewell show along with Squadda B of rap duo Main Attrakionz. “2016 was definitely a turning point,” Cheung says. “Everyone became more desperate for spaces, and trying to make smaller places work—cafes, bookstores. There were new DIY spaces, but they’ve closed, too.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870690\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870690\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-800x450.jpg\" alt=\"Jeff Cheung (back right) and others prepare for a group show at LoBot Gallery, an unpermitted live-work space in West Oakland that was evicted in 2016. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet-1200x675.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/lobot-2012-Raphael-Villet.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Cheung (back right) and others prepare for a group show at Lobot Gallery, an unpermitted live-work space in West Oakland that was evicted in 2016. \u003ccite>(Raphael Villet)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Also that year, Bay Area 51, a former bus depot in San Francisco’s Bayview neighborhood, expired as a beacon of the city’s waning underground electronic music scene. The eviction of \u003c/span>\u003ca href=\"https://www.kqed.org/arts/11275711/farewell-to-telegraph-beach-oaklands-budget-rock-palace\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Telegraph Beach\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> represented the decline of East Bay punk houses amenable to the ambient chaos of living-room gigs and home recording. Adjacent West Oakland live-work warehouses containing the radical publisher AK Press and an experimental music hub sold to \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/former-ak-press-warehouse-sold-to-tech-co-op-developer-who-demolished-1919-market/Content?oid=5060621\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">a developer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> known for building tech dorms and evicting seniors following a deadly fire the year before. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Then, on Dec. 2, 2016, another fire ignited on the bottom level of the East Oakland warehouse known as Ghost Ship. Dozens of people upstairs at an electronic music event inhaled dense, caustic smoke; days later, the death toll settled at 36. Many of the victims were \u003c/span>\u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">arts community pillars\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, and the tragedy spurred a protracted, wrenching period of grief—tributes, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13816362/saving-the-music-of-ghost-ship-victims-helps-loved-ones-heal\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">posthumous albums\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and lyrics like, “I’m a walking mausoleum,” as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13829142/hether-fortune-talks-wax-idols-wild-path-to-their-happy-ending\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Hether Fortune\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> of Wax Idols sang. For subcultures aiming to provide safe spaces for self-expression, it was spiritually crushing. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The fire led to \u003c/span>\u003ca href=\"https://www.kqed.org/news/11777745/prosecutors-will-retry-case-of-ghost-ship-defendant-derick-almena\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">unresolved criminal and civil litigation\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, stirring debate about \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13865804/for-oaklands-wounded-music-scene-no-ghost-ship-verdict-could-deliver-justice\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">responsibility for a blaze\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> with no officially determined cause. It also preceded a wave of displacement: Property owners, already beginning to market warehouses to more affluent renters, grew leery of liability. City officials compiled lists of unpermitted residences and venues and instructed owners to “discontinue residential use,” effectively ordering \u003c/span>\u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">dozens of tenants’ displacement\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">. The chain of unwritten agreements between tenants, landlords and city officials seemed to break overnight. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Ghost Ship’s effects will continue into the next decade. \u003c/span>\u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400;\">Safer DIY Spaces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, a live-work advocacy organization formed after the fire, has assisted tenants of more than 120 residences and art spaces with code-compliance and safety improvements since 2017, according to director David Keenan. Some are currently in delicate permitting processes. At least 20 have been evicted. And despite claims to the contrary, Keenan says city bureaucracy remains generally adversarial. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“Inspectors have told me they’d rather see people outside in tents than in warehouses,” he says.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_12447297\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-12447297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-800x450.jpg\" alt=\"A memorial outside the Oakland warehouse venue Ghost Ship after a fire killed 36 people on Dec. 2.\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-240x135.jpg 240w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-375x211.jpg 375w, https://ww2.kqed.org/app/uploads/sites/2/2016/12/Fire-Memorial-2-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial outside the Oakland warehouse venue Ghost Ship after a fire killed 36 people on Dec. 3, 2016. \u003ccite>(Photo: Elijah Nouvelage/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Tenants of the Church, a West Oakland warehouse targeted by city officials after the fire, were displaced this summer after more than two years of uncertainty. The Church hosted more than 200 installments of the mononymous filmmaker Tooth’s screening series, Black Hole, between 2011 and 2019, all of them free and often featuring experimental work by visiting international artists. The series also led to the film festival Light Field. A shrine to Joey Casio, an artist and former Church resident who died in the fire, sprawled along a wall until the day of the eviction. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Tooth, who now lives in New York, made Black Hole a free event in order to counter art world gatekeeping, and to encourage people to attend even when they didn’t recognize the programming—a range of canonical art-house and non-narrative abstraction. (Also a hit: Saturday morning cartoons and mimosas.) “It wouldn’t have been financially possible at a space where I didn’t also live,” he says. He also incorporated the Church's architecture into his sound art practice: at the Church’s last event, Tooth used a bow to elicit a thrumming drone from the structure itself. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The decline of affordable live-work space, hastened also by cannabis cultivators after California voters legalized recreational use in 2016, has reshaped the volume and variety of artistic production in the Bay Area. The aforementioned places accommodated large-scale works such as murals, sculptures and ostentatiously loud music. They fostered unlikely collaborations through social events that eroded boundaries between artistic disciplines. Importantly, they were also cheap enough to relieve artists of financial pressures, allowing them to pursue ephemeral or immaterial formats rather than making safer, more commercial work. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Similarly flexible, spacious places for artists to live and work have not disappeared completely. But it’s telling that underground dance events are lately occurring outdoors. Cheung, trying to recapture Lobot’s collective spirit through skateboarding, ended up spending more time outside, too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Punk and experimental shows, not long ago found largely in discrete spaces, now gravitate to established venues. Some clubs can approximate the atmosphere of an underground show, but even the most accommodating ones have bottom lines that seem to buffer against creative risk. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870695\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-13870695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-160x90.jpg 160w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-1020x574.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4-1200x676.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/2/2019/12/boomboxprocession4.jpg 1597w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Friends of the artists who passed away in the Ghost Ship fire remember them at a vigil in 2017. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Since 2016, local music scene figures have also gained more awareness of how underground art spaces contribute to gentrification—thereby hastening their own displacement. Politicians, conspicuously Jerry Brown during his 1999–2007 mayoral tenure, promoted the creative reuse of commercial properties on the premise that an arts reputation would attract investor capital to Oakland. The underground venues that figures such as Brown tacitly condoned enticed transplants to depressed neighborhoods, speeding the turnover of longtime residents. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Recognizing the more pernicious elements of this legacy, artists and activists holding space in Oakland today tend to center communities most susceptible to displacement, and also stress the need to insulate real-estate from the uncertainty of the speculative market.\u003c/span> \u003cspan style=\"font-weight: 400;\">The Oakland Community Land Trust, for example, in 2017 acquired \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13003192/oakland-grassroots-groups-unite-to-purchase-23rd-avenue-building\">\u003cspan style=\"font-weight: 400;\">an East Oakland building\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> containing affordable apartments and people of color-led nonprofit storefronts. There and in other remaining \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13838421/with-luxury-development-on-all-sides-oakland-artists-buy-the-right-to-stay-put\">\u003cspan style=\"font-weight: 400;\">communal live-work spaces\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, collectivizing ownership is on the chore wheel. \u003c/span>\u003cspan style=\"font-weight: 400;\">\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Brontez Purnell, the musician, writer and dancer, lived in Oakland warehouses for more than a decade until 2014, when he was evicted from Ghost Town Gallery neighbor Sugar Mountain. At Sugar Mountain, where his rent hovered around $460 a month, Purnell wrote his first book and created several records and music videos for his group, The Younger Lovers. He also convened large, experimental dance ensembles, yielding the internationally exhibited 8mm film \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">Free Jazz\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“I was interested in total- or anti-dance,” he says. “So I thought I’d structure my dance company like a punk band—bring dancers and non-dancers to this warehouse and practice.” Purnell, who now lives in a shared home in Oakland, and who in 2018 was called a \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13846060/brontez-purnell-ishmael-reed-honored-in-new-york-times-feature\">\u003cspan style=\"font-weight: 400;\">key contemporary black writer\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> in \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">The New York Times\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">, groans to remember the dozen-plus roommates and lack of privacy at Sugar Mountain, but describes it as a platform for his career’s second act. “Those were pivotal years,” Purnell says. “The space was instrumental to all of my work today.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870687/evictions-and-the-ghost-ship-fire-pushed-oakland-artists-into-the-margins","authors":["11091"],"categories":["arts_835","arts_235"],"tags":["arts_9352","arts_5633","arts_1627","arts_9354","arts_9353","arts_9345","arts_9355","arts_9344"],"featImg":"arts_13870689","label":"arts"},"arts_13865804":{"type":"posts","id":"arts_13865804","meta":{"index":"posts_1591205157","site":"arts","id":"13865804","score":null,"sort":[1567783495000]},"guestAuthors":[],"slug":"for-oaklands-wounded-music-scene-no-ghost-ship-verdict-could-deliver-justice","title":"For Oakland's Wounded Music Scene, No Ghost Ship Verdict Could Deliver Justice","publishDate":1567783495,"format":"standard","headTitle":"For Oakland’s Wounded Music Scene, No Ghost Ship Verdict Could Deliver Justice | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Jurors delivered a mixed decision in the Ghost Ship criminal trial Thursday, acquitting Max Harris of all charges but failing to reach a unanimous verdict for Derick Almena, who now faces the possibility of a retrial. The defendants each faced 36 counts of involuntary manslaughter for their managerial roles at the un-permitted East Oakland warehouse venue and residence where \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener\">36 people\u003c/a> died during an electronic music event on Dec. 2, 2016. [aside postID=news_11764921]\u003c/p>\n\u003cp>Family members of the deceased have been outspoken, regularly addressing media at the courthouse about their desire to see the defendants found guilty. But local music community figures interviewed by KQED, including people who survived the fire and who each lost at least several friends, expressed a nuanced view of the verdict, saying no outcome of Harris and Almena’s prosecution could resemble justice or elicit any semblance of satisfaction.\u003c/p>\n\u003cp>“The trial is the wrong place to look if you want to see things get better, if you want real justice for the people we lost,” said Nihar Bhatt, a San Francisco DJ and record label proprietor who escaped the fire and has since released or prepared \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/private-property-created-crime\" target=\"_blank\" rel=\"noopener\">posthumous titles\u003c/a> by some of his friends who did not, including the local artists \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a> (Nackt) and \u003ca href=\"https://www.kqed.org/arts/12456485/joey-casio\" target=\"_blank\" rel=\"noopener\">Joey Casio\u003c/a> (Obsidian Blade).\u003c/p>\n\u003cp>Bhatt and other underground music figures said Ghost Ship was widely considered an unsafe venue, but shows occurred there due to a dwindling number of alternative art spaces in Oakland—a trend that’s only intensified in recent years. He pointed to \u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener\">Safer DIY Spaces\u003c/a>, which formed after the fire to assist underground arts spaces with code-compliance and advocate for them at Oakland City Hall, as an example of a better way to honor the lives of people lost than putting anyone in prison.\u003c/p>\n\u003cfigure id=\"attachment_12446719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12446719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg\" alt=\"A memorial for those who died in the Ghost Ship warehouse fire\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for those who died in the Ghost Ship warehouse fire. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan, director of Safer DIY Spaces, said the trial has partly worked as a diversion, distracting the public from holding the City of Oakland accountable for the gulf between its promises and actions as far as compassionate code-enforcement after the fire. \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener\">Officials vowed\u003c/a> to help tenants of other un-permitted warehouses make safety improvements without risking displacement. “Instead they’ve made it harder to legalize these places,” Keenan said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bhatt expressed similar frustration because recommendations from a city task force formed after the fire to address barriers to compliance with special events regulations have largely fallen to the wayside without meaningful adoption. “It’s easier in our current culture to focus on the conviction of individuals,” Bhatt said. “We should be looking at the laws and the economic situation in the Bay Area and the way those things converged [with the Ghost Ship fire].” [aside postid='arts_13816362']\u003c/p>\n\u003cp>Many local arts figures are sympathetic to defense attorneys’ argument that Harris and Almena are scapegoats, believing city officials and the building owners should share some of the blame. (Landlord Chor Ng is among the defendants in families’ pending civil lawsuit.) They’re also generally in agreement with Harris’ co-counsel Tyler Smith that the rising cost of living contributed to the tragedy.\u003c/p>\n\u003cp>“None of this would’ve happened in the first place if the income inequality and the housing crisis weren’t as bad, wasn’t permitted to get as bad as it’s gotten in the Bay Area and in Oakland,” Smith said at the courthouse Thursday.\u003c/p>\n\u003cp>Still, arts and music figures affected by the fire aren’t necessarily fond of the defendants themselves. “They were total douchebags,” said Sharmi Basu, an Oakland experimental musician who played a prominent role in fundraising for fire relief. But as a self-described prison abolitionist, Basu continued, she derived no pleasure from the prospect of their incarceration. “The justice system isn’t going to provide the systemic reform we need,” she said.\u003c/p>\n\u003cp>[pullquote align='right' citation='Sharmi Basu']“The justice system isn’t going to provide the systemic reform we need.”[/pullquote]\u003c/p>\n\u003cp>Other aspects of the defense dismayed music figures who followed the case. The defense implied during the trial that an unsavory, sinister element resided in the neighborhood, conjuring images of gangs and sex workers in an effort to lend credence to its assertion that the fire was set intentionally and to cast the warehouse as a comparatively rosy and idealistic arts collective.\u003c/p>\n\u003cp>In a way, said Bhatt and others, that defense strategy made the largely Latino, working-class Fruitvale district of East Oakland the trial’s forgotten victim. The assertion that a band of Latino arsonists in hoodies lit the warehouse on fire strained credulity to people who were there, and seemed to rely on racist tropes to burnish the image of Ghost Ship and its operators. “It was thinly veiled racism and also paranoia,” Bhatt said. [aside postid='arts_12484175']\u003c/p>\n\u003cp>Jonathan Axtell, who recalled his harrowing escape from the fire as a prosecution witness in June, said the people he knew who died at Ghost Ship would be disappointed to see their names and memories used in the pursuit of lengthy prison sentences instead of pushing back against inequality and displacement in the Bay Area. “What’s been top of my mind is not whether or not they convict Derick and Max, but whether we live for what they lived for,” he said.\u003c/p>\n\u003cp>A hearing regarding Almena’s possible retrial is scheduled for Oct. 4. A separate civil case brought by family members against the City of Oakland, Pacific Gas & Electric and the Ngs, among others, is scheduled to begin trial in May, lead attorney \u003ca href=\"https://maryalexanderlaw.com/\" target=\"_blank\" rel=\"noopener\">Mary Alexander\u003c/a> said Thursday. The statute of limitations prevents the Ngs from facing criminal charges stemming from the Ghost Ship fire after Dec. 3, 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED reporter Don Clyde contributed to this post.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"'The trial is the wrong place to look ... if you want real justice for the people we lost,' said Nihar Bhatt.","status":"publish","parent":0,"modified":1705022197,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1006},"headData":{"title":"For Oakland's Wounded Music Scene, No Ghost Ship Verdict Could Deliver Justice | KQED","description":"'The trial is the wrong place to look ... if you want real justice for the people we lost,' said Nihar Bhatt.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13865804/for-oaklands-wounded-music-scene-no-ghost-ship-verdict-could-deliver-justice","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jurors delivered a mixed decision in the Ghost Ship criminal trial Thursday, acquitting Max Harris of all charges but failing to reach a unanimous verdict for Derick Almena, who now faces the possibility of a retrial. The defendants each faced 36 counts of involuntary manslaughter for their managerial roles at the un-permitted East Oakland warehouse venue and residence where \u003ca href=\"https://www.kqed.org/arts/program/oakland-warehouse-memorial\" target=\"_blank\" rel=\"noopener\">36 people\u003c/a> died during an electronic music event on Dec. 2, 2016. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11764921","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Family members of the deceased have been outspoken, regularly addressing media at the courthouse about their desire to see the defendants found guilty. But local music community figures interviewed by KQED, including people who survived the fire and who each lost at least several friends, expressed a nuanced view of the verdict, saying no outcome of Harris and Almena’s prosecution could resemble justice or elicit any semblance of satisfaction.\u003c/p>\n\u003cp>“The trial is the wrong place to look if you want to see things get better, if you want real justice for the people we lost,” said Nihar Bhatt, a San Francisco DJ and record label proprietor who escaped the fire and has since released or prepared \u003ca href=\"https://lefthandpathwax.bandcamp.com/album/private-property-created-crime\" target=\"_blank\" rel=\"noopener\">posthumous titles\u003c/a> by some of his friends who did not, including the local artists \u003ca href=\"https://www.kqed.org/arts/12468905/johnny-igaz-a-pillar-of-community-electronic-musician-and-inspiration\" target=\"_blank\" rel=\"noopener\">Johnny Igaz\u003c/a> (Nackt) and \u003ca href=\"https://www.kqed.org/arts/12456485/joey-casio\" target=\"_blank\" rel=\"noopener\">Joey Casio\u003c/a> (Obsidian Blade).\u003c/p>\n\u003cp>Bhatt and other underground music figures said Ghost Ship was widely considered an unsafe venue, but shows occurred there due to a dwindling number of alternative art spaces in Oakland—a trend that’s only intensified in recent years. He pointed to \u003ca href=\"https://saferdiyspaces.org/\" target=\"_blank\" rel=\"noopener\">Safer DIY Spaces\u003c/a>, which formed after the fire to assist underground arts spaces with code-compliance and advocate for them at Oakland City Hall, as an example of a better way to honor the lives of people lost than putting anyone in prison.\u003c/p>\n\u003cfigure id=\"attachment_12446719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12446719\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg\" alt=\"A memorial for those who died in the Ghost Ship warehouse fire\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/12446718-thumb-e1481230586911-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A memorial for those who died in the Ghost Ship warehouse fire. \u003ccite>(Brittany Hosea-Small/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>David Keenan, director of Safer DIY Spaces, said the trial has partly worked as a diversion, distracting the public from holding the City of Oakland accountable for the gulf between its promises and actions as far as compassionate code-enforcement after the fire. \u003ca href=\"https://www.eastbayexpress.com/oakland/evictions-after-ghost-ship/Content?oid=11223343\" target=\"_blank\" rel=\"noopener\">Officials vowed\u003c/a> to help tenants of other un-permitted warehouses make safety improvements without risking displacement. “Instead they’ve made it harder to legalize these places,” Keenan said.\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>Bhatt expressed similar frustration because recommendations from a city task force formed after the fire to address barriers to compliance with special events regulations have largely fallen to the wayside without meaningful adoption. “It’s easier in our current culture to focus on the conviction of individuals,” Bhatt said. “We should be looking at the laws and the economic situation in the Bay Area and the way those things converged [with the Ghost Ship fire].” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13816362","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many local arts figures are sympathetic to defense attorneys’ argument that Harris and Almena are scapegoats, believing city officials and the building owners should share some of the blame. (Landlord Chor Ng is among the defendants in families’ pending civil lawsuit.) They’re also generally in agreement with Harris’ co-counsel Tyler Smith that the rising cost of living contributed to the tragedy.\u003c/p>\n\u003cp>“None of this would’ve happened in the first place if the income inequality and the housing crisis weren’t as bad, wasn’t permitted to get as bad as it’s gotten in the Bay Area and in Oakland,” Smith said at the courthouse Thursday.\u003c/p>\n\u003cp>Still, arts and music figures affected by the fire aren’t necessarily fond of the defendants themselves. “They were total douchebags,” said Sharmi Basu, an Oakland experimental musician who played a prominent role in fundraising for fire relief. But as a self-described prison abolitionist, Basu continued, she derived no pleasure from the prospect of their incarceration. “The justice system isn’t going to provide the systemic reform we need,” she said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"“The justice system isn’t going to provide the systemic reform we need.”","name":"pullquote","attributes":{"named":{"align":"right","citation":"Sharmi Basu","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other aspects of the defense dismayed music figures who followed the case. The defense implied during the trial that an unsavory, sinister element resided in the neighborhood, conjuring images of gangs and sex workers in an effort to lend credence to its assertion that the fire was set intentionally and to cast the warehouse as a comparatively rosy and idealistic arts collective.\u003c/p>\n\u003cp>In a way, said Bhatt and others, that defense strategy made the largely Latino, working-class Fruitvale district of East Oakland the trial’s forgotten victim. The assertion that a band of Latino arsonists in hoodies lit the warehouse on fire strained credulity to people who were there, and seemed to rely on racist tropes to burnish the image of Ghost Ship and its operators. “It was thinly veiled racism and also paranoia,” Bhatt said. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_12484175","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jonathan Axtell, who recalled his harrowing escape from the fire as a prosecution witness in June, said the people he knew who died at Ghost Ship would be disappointed to see their names and memories used in the pursuit of lengthy prison sentences instead of pushing back against inequality and displacement in the Bay Area. “What’s been top of my mind is not whether or not they convict Derick and Max, but whether we live for what they lived for,” he said.\u003c/p>\n\u003cp>A hearing regarding Almena’s possible retrial is scheduled for Oct. 4. A separate civil case brought by family members against the City of Oakland, Pacific Gas & Electric and the Ngs, among others, is scheduled to begin trial in May, lead attorney \u003ca href=\"https://maryalexanderlaw.com/\" target=\"_blank\" rel=\"noopener\">Mary Alexander\u003c/a> said Thursday. The statute of limitations prevents the Ngs from facing criminal charges stemming from the Ghost Ship fire after Dec. 3, 2019.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>KQED reporter Don Clyde contributed to this post.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13865804/for-oaklands-wounded-music-scene-no-ghost-ship-verdict-could-deliver-justice","authors":["11091"],"categories":["arts_835","arts_69","arts_235"],"tags":["arts_1501","arts_1118","arts_1559","arts_1627","arts_5849","arts_746","arts_596","arts_1143"],"featImg":"arts_13865856","label":"arts"},"arts_13864120":{"type":"posts","id":"arts_13864120","meta":{"index":"posts_1591205157","site":"arts","id":"13864120","score":null,"sort":[1565881200000]},"guestAuthors":[],"slug":"m0xy-warehouse-artists-in-oakland-plot-recovery-from-fire","title":"M0xy Warehouse Artists in Oakland Plot Recovery From Fire","publishDate":1565881200,"format":"standard","headTitle":"M0xy Warehouse Artists in Oakland Plot Recovery From Fire | KQED","labelTerm":{"term":1272,"site":"arts"},"content":"\u003cp>Last Friday, while jurors deliberated on two defendants’ criminal responsibility for the 2016 Ghost Ship warehouse fire, another artist complex in the nearby Jingletown neighborhood of East Oakland went up in flames. \u003c/p>\n\u003cp>Unlike Ghost Ship, however, no humans were injured in the fire at 976 23rd Ave., which houses dozens of small businesses and art studios. Still, space and materials serving 7–10 of more than 30 tenants, including woodworkers and sculptors, were destroyed. The whole building is currently inaccessible, according to M0xy tenants. [aside postID=news_11766607]\u003c/p>\n\u003cp>Atticus Wolf, who founded \u003ca href=\"https://www.m0xy.com/\">M0xy\u003c/a> with a partner in 2015, said he was in his office at the facility early Friday morning when the fire started, and attempted to extinguish it to no avail. “What went through my head is ‘everybody out.’ I don’t know what else I was thinking, but it hurt,” Wolf said. “We have two warehouse cats and one of them didn’t make it—his name was Sebastian.” \u003c/p>\n\u003cp>The fire comes at a time when city scrutiny and competition for commercial space, not least from \u003ca href=\"https://www.kqed.org/arts/13826417/new-oakland-law-could-prevent-cannabis-companies-from-evicting-tenants\" rel=\"noopener\" target=\"_blank\">deep-pocketed cannabis cultivation companies\u003c/a>, threaten the art and fabrication studios that have long occupied warehouse and light-industrial buildings in East Oakland. Now, M0xy tenants are working and fundraising to ensure the studio space doesn’t permanently disappear. \u003c/p>\n\u003cp>“The city has been in constant contact with M0xy, working closely with them to get the property up and running again, and get these small businesses and sole proprietors back to work as soon as possible,” Kelley Kahn, Oakland’s policy director for art spaces, said in a statement. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>David Keenan of Safer DIY Spaces, which emerged after the Ghost Ship fire as a resource for preserving and upgrading artist housing and workspace, is also working with Wolf and M0xy tenants on repairs. “The city, building department—everyone’s been helpful,” he said. \u003c/p>\n\u003cp>Wolf said the block-long facility is composed of two buildings, and that the one most damaged by the fire will be demolished. He’s working with the property owner, Jason Dreisbach, whose family business provides warehousing services to the ports of Oakland and Richmond, to explore the construction of a new building and restore access to the rest of the complex, noting many tenants are general contractors and skilled laborers.\u003c/p>\n\u003cp>Meanwhile, at least five tenants affected by the fire have launched crowdfunding campaigns: \u003ca href=\"https://www.gofundme.com/f/HELP-SAVE-SKIFF\">Skiff\u003c/a>, a fabrication business with five employees; \u003ca href=\"https://www.gofundme.com/f/o2-treehouse\">02 Treehouse\u003c/a>, an architectural firm focused on treehouses; Rachel Sadd, an artist known as the \u003ca href=\"https://www.gofundme.com/f/crafty-avenger-jingletown-fire-recovery-fund\">Crafty Avenger\u003c/a>; woodworker \u003ca href=\"https://www.gofundme.com/f/aaron-pirata-cronshey039s-get-back-to-work-fund\">Aaron Pirate Cronshey\u003c/a>; and \u003ca href=\"https://www.gofundme.com/f/ryan-montgomery039s-post-m0xy-fire-support-fund\">Ryan Montgomery\u003c/a>, the installation artist behind Geary & Hyde Design. \u003c/p>\n\u003cp>Dustin Feider of 02 Treehouse said contributions will go to seeking temporary workspace and completing an outstanding project for a client in Seattle. “It’s been a rude awakening to look at rental rates elsewhere,” he said, mentioning that 02 Treehouse often subcontracts with other M0xy tenants. “I’m glad to hear Atticus is on a mission to rebuild.” \u003c/p>\n\u003cp>M0xy is also accepting donations through its fiscal sponsor \u003ca href=\"https://www.artsandmedia.net/\">Independent Arts and Media\u003c/a>. \u003c/p>\n\u003cp>No one lives at M0xy, Wolf said. Inspired by \u003ca href=\"https://localwiki.org/oakland/American_Steel_Studios\" rel=\"noopener\" target=\"_blank\">American Steel\u003c/a>, the idea of the below market-rate studio space is to foster tool- and knowledge-sharing among tenants loosely aligned with what he called the industrial arts. At the time of the fire, though, he was working with Community Arts Stabilization Trust, the San Francisco nonprofit, to build artist housing in the neighborhood. \u003c/p>\n\u003cp>The plan had reached the point of architectural renderings for a potential site across the street. “Now those resources have to go back into the M0xy building,” Wolf said. “We’re at a standstill.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Artists are particularly susceptible to being displaced from studio space, according to a 2016 report from Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, due to the city’s lack of commercial rent control or other protections. Most of the 900 local artists who responded to a task force survey indicated their workspace leases are month-to-month.\u003c/p>\n\n","blocks":[],"excerpt":"M0xy tenants are working to ensure the studio space doesn’t permanently disappear. ","status":"publish","parent":0,"modified":1705022316,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":698},"headData":{"title":"M0xy Warehouse Artists in Oakland Plot Recovery From Fire | KQED","description":"M0xy tenants are working to ensure the studio space doesn’t permanently disappear. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13864120/m0xy-warehouse-artists-in-oakland-plot-recovery-from-fire","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last Friday, while jurors deliberated on two defendants’ criminal responsibility for the 2016 Ghost Ship warehouse fire, another artist complex in the nearby Jingletown neighborhood of East Oakland went up in flames. \u003c/p>\n\u003cp>Unlike Ghost Ship, however, no humans were injured in the fire at 976 23rd Ave., which houses dozens of small businesses and art studios. Still, space and materials serving 7–10 of more than 30 tenants, including woodworkers and sculptors, were destroyed. The whole building is currently inaccessible, according to M0xy tenants. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"news_11766607","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Atticus Wolf, who founded \u003ca href=\"https://www.m0xy.com/\">M0xy\u003c/a> with a partner in 2015, said he was in his office at the facility early Friday morning when the fire started, and attempted to extinguish it to no avail. “What went through my head is ‘everybody out.’ I don’t know what else I was thinking, but it hurt,” Wolf said. “We have two warehouse cats and one of them didn’t make it—his name was Sebastian.” \u003c/p>\n\u003cp>The fire comes at a time when city scrutiny and competition for commercial space, not least from \u003ca href=\"https://www.kqed.org/arts/13826417/new-oakland-law-could-prevent-cannabis-companies-from-evicting-tenants\" rel=\"noopener\" target=\"_blank\">deep-pocketed cannabis cultivation companies\u003c/a>, threaten the art and fabrication studios that have long occupied warehouse and light-industrial buildings in East Oakland. Now, M0xy tenants are working and fundraising to ensure the studio space doesn’t permanently disappear. \u003c/p>\n\u003cp>“The city has been in constant contact with M0xy, working closely with them to get the property up and running again, and get these small businesses and sole proprietors back to work as soon as possible,” Kelley Kahn, Oakland’s policy director for art spaces, said in a statement. \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>David Keenan of Safer DIY Spaces, which emerged after the Ghost Ship fire as a resource for preserving and upgrading artist housing and workspace, is also working with Wolf and M0xy tenants on repairs. “The city, building department—everyone’s been helpful,” he said. \u003c/p>\n\u003cp>Wolf said the block-long facility is composed of two buildings, and that the one most damaged by the fire will be demolished. He’s working with the property owner, Jason Dreisbach, whose family business provides warehousing services to the ports of Oakland and Richmond, to explore the construction of a new building and restore access to the rest of the complex, noting many tenants are general contractors and skilled laborers.\u003c/p>\n\u003cp>Meanwhile, at least five tenants affected by the fire have launched crowdfunding campaigns: \u003ca href=\"https://www.gofundme.com/f/HELP-SAVE-SKIFF\">Skiff\u003c/a>, a fabrication business with five employees; \u003ca href=\"https://www.gofundme.com/f/o2-treehouse\">02 Treehouse\u003c/a>, an architectural firm focused on treehouses; Rachel Sadd, an artist known as the \u003ca href=\"https://www.gofundme.com/f/crafty-avenger-jingletown-fire-recovery-fund\">Crafty Avenger\u003c/a>; woodworker \u003ca href=\"https://www.gofundme.com/f/aaron-pirata-cronshey039s-get-back-to-work-fund\">Aaron Pirate Cronshey\u003c/a>; and \u003ca href=\"https://www.gofundme.com/f/ryan-montgomery039s-post-m0xy-fire-support-fund\">Ryan Montgomery\u003c/a>, the installation artist behind Geary & Hyde Design. \u003c/p>\n\u003cp>Dustin Feider of 02 Treehouse said contributions will go to seeking temporary workspace and completing an outstanding project for a client in Seattle. “It’s been a rude awakening to look at rental rates elsewhere,” he said, mentioning that 02 Treehouse often subcontracts with other M0xy tenants. “I’m glad to hear Atticus is on a mission to rebuild.” \u003c/p>\n\u003cp>M0xy is also accepting donations through its fiscal sponsor \u003ca href=\"https://www.artsandmedia.net/\">Independent Arts and Media\u003c/a>. \u003c/p>\n\u003cp>No one lives at M0xy, Wolf said. Inspired by \u003ca href=\"https://localwiki.org/oakland/American_Steel_Studios\" rel=\"noopener\" target=\"_blank\">American Steel\u003c/a>, the idea of the below market-rate studio space is to foster tool- and knowledge-sharing among tenants loosely aligned with what he called the industrial arts. At the time of the fire, though, he was working with Community Arts Stabilization Trust, the San Francisco nonprofit, to build artist housing in the neighborhood. \u003c/p>\n\u003cp>The plan had reached the point of architectural renderings for a potential site across the street. “Now those resources have to go back into the M0xy building,” Wolf said. “We’re at a standstill.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Artists are particularly susceptible to being displaced from studio space, according to a 2016 report from Oakland Mayor Libby Schaaf’s Artist Housing and Workspace Task Force, due to the city’s lack of commercial rent control or other protections. Most of the 900 local artists who responded to a task force survey indicated their workspace leases are month-to-month.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13864120/m0xy-warehouse-artists-in-oakland-plot-recovery-from-fire","authors":["11091"],"programs":["arts_1272"],"categories":["arts_1","arts_235"],"tags":["arts_1118","arts_1627","arts_746","arts_596","arts_1143"],"featImg":"arts_13864125","label":"arts_1272"},"arts_13848833":{"type":"posts","id":"arts_13848833","meta":{"index":"posts_1591205157","site":"arts","id":"13848833","score":null,"sort":[1550186557000]},"guestAuthors":[],"slug":"on-her-posthumous-album-cherushiis-ecstatic-vision-is-crystal-clear","title":"On Her Posthumous Album, Cherushii's Ecstatic Vision is Crystal Clear","publishDate":1550186557,"format":"standard","headTitle":"On Her Posthumous Album, Cherushii’s Ecstatic Vision is Crystal Clear | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Estonian singer Maria Minerva and the late San Francisco producer \u003ca href=\"https://cherushii.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Cherushii\u003c/a> became fast friends once their label, 100% Silk, paired them up to go on a nationwide tour together in 2013. Whenever Minerva would visit Cherushii in San Francisco in the years that followed, she was struck by her unpretentious optimism and sense of adventure. [contextly_sidebar id=”uuiHQG3X8gvxQuA6idFAWRJe5hPd9mBC”]\u003c/p>\n\u003cp>Minerva recalls a time when Cherushii invited her to perform an early-morning set at the Folsom Street Fair, the famed fetish celebration.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To me that was the most insane experience ever,” Minerva laughs, remembering how Cherushii brought the same enthusiasm to the sparse crowd of leather-clad early risers as she would have during peak hours at a rave. “For her, that was her comfort zone.”\u003c/span>\u003c/p>\n\u003cp>Sadly, Cherushii, whose real name is Chelsea Faith Dolan, was killed in the 2016 Ghost Ship fire just as she was hitting her creative stride.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Right before her passing, things were going so great for her. She was doing bigger and better gigs every week, producing a lot—she never stopped,”\u003c/span> says Minerva in a phone interview from Los Angeles. She and Cherushii had been in the process of completing a collaborative album in the months leading up to her death.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After two years of working to finish the project amid a difficult grieving process, Minerva releases her album with Cherushii via 100% Silk on Feb. 15. Titled \u003cem>S/T\u003c/em>, it offers a glimpse into the new, exalted house-pop direction Cherushii was reaching for before her passing.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=753160670/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Soulful, ebullient and effervescent are some ways to describe Cherushii’s approach to house music, which harked back to the funky, jubilant expressions of influential ’90s acts like \u003ca href=\"https://youtu.be/MdoKsW6-r-M\" target=\"_blank\" rel=\"noopener\">Inner City\u003c/a> and \u003ca href=\"https://youtu.be/644UU55eyzk\" target=\"_blank\" rel=\"noopener\">Frankie Knuckles\u003c/a>.\u003c/p>\n\u003cp>On \u003cem>S/T\u003c/em>, Cherushii’s deep, pulsing grooves and heavy-reverb synths recall the work of pioneering pop producer \u003ca href=\"https://youtu.be/RK4Gr0Z1gsA\" target=\"_blank\" rel=\"noopener\">Giorgio Moroder\u003c/a>, who’s responsible for some of Donna Summer’s biggest hits. With Minerva’s melancholy lyrics about solitude and heartbreak against Cherushii’s ecstatic production, \u003cem>S/T\u003c/em> would sit comfortably on a playlist with tracks like “\u003ca href=\"https://youtu.be/8o5BHH9U2Mg\" target=\"_blank\" rel=\"noopener\">Missing U\u003c/a>” by Robyn or “\u003ca href=\"https://www.youtube.com/watch?v=rEamE0MYPkg\" target=\"_blank\" rel=\"noopener\">Everything is Embarrassing\u003c/a>” by Sky Ferreira—sparkly dance-pop tunes that belie pensive, emotional lyrics. [contextly_sidebar id=”F65KQ8pRal1u2LNfByFchOZNPnqbGWvo”]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“More so than other musicians I worked with, [Cherushii] was inspired by the notion of making songs for people to thrill to, and bond to and celebrate to,” says Britt Brown, the co-owner of 100% Silk. “She wasn’t one of those people who’d write a song because she’s sad and it’s a sad song. … It was this revved up, joyful party song.”\u003c/span>\u003c/p>\n\u003cp>“Out by Myself,” about the feeling of transcendence on the dance floor, captures how the pure love of a good beat propelled Cherushii’s creative process. (Her romantic and creative partner David Last assisted with mixing on the track.) On \u003cem>S/T\u003c/em> and in Cherushii’s solo work, her songs are often lengthy, with play times of up to eight minutes. Her maximalist beats beckon the listener—who is also often a dancer—to find the groove and hang out in it for a while, allowing melodic twists and turns to take them to new heights of spiritual ecstasy.\u003c/p>\n\u003cfigure id=\"attachment_13850859\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/folsom-800x799.png\" alt=\"Cherushii and Maria Minerva performing at Folsom Street Fair. \" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-800x799.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-768x767.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1020x1018.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1200x1198.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cherushii and Maria Minerva performing at Folsom Street Fair. \u003ccite>(Colleen Dolan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown and Minerva say that Cherushii sometimes felt under-recognized as a producer, and Minerva laments that Cherushii passed away before gender equality became a major topic of conversation in the electronic music world. Now, many international festivals have committed to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-43196414\" target=\"_blank\" rel=\"noopener\">booking 50 percent women\u003c/a> for their lineups by 2022. Female producers \u003ca href=\"https://www.thefader.com/2018/03/15/budx-seoul-peggy-gou-interview-boiler-room-budweiser\" target=\"_blank\" rel=\"noopener\">Peggy Gou\u003c/a> and \u003ca href=\"https://www.thefader.com/2018/06/05/yaeji-cover-story\" target=\"_blank\" rel=\"noopener\">Yaeji\u003c/a> have emerged as two of club music’s biggest stars, and their work shares Cherushii’s joyous, life-affirming sensibility.\u003c/p>\n\u003cp>“She would complain to me about the party scene in San Francisco—and that’s like throwing shade now—but a lot of the male producers and DJs would look through her and not give her the time of day,” Minerva says. “Now the music world is waking up to the fact that it’s happening, and festival lineups get called out for the lack of women.”\u003c/p>\n\u003cp>“That never happened five years ago,” she continues, “And it’s a shame because I feel like she would have benefited from that new awareness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Two years after the Ghost Ship fire, the effervescent electronic producer pairs with Maria Minerva on an album showing her brilliant talent.","status":"publish","parent":0,"modified":1705026597,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=753160670/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":770},"headData":{"title":"On Her Posthumous Album, Cherushii's Ecstatic Vision is Crystal Clear | KQED","description":"Two years after the Ghost Ship fire, the effervescent electronic producer pairs with Maria Minerva on an album showing her brilliant talent.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"path":"/arts/13848833/on-her-posthumous-album-cherushiis-ecstatic-vision-is-crystal-clear","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Estonian singer Maria Minerva and the late San Francisco producer \u003ca href=\"https://cherushii.bandcamp.com\" target=\"_blank\" rel=\"noopener\">Cherushii\u003c/a> became fast friends once their label, 100% Silk, paired them up to go on a nationwide tour together in 2013. Whenever Minerva would visit Cherushii in San Francisco in the years that followed, she was struck by her unpretentious optimism and sense of adventure. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Minerva recalls a time when Cherushii invited her to perform an early-morning set at the Folsom Street Fair, the famed fetish celebration.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“To me that was the most insane experience ever,” Minerva laughs, remembering how Cherushii brought the same enthusiasm to the sparse crowd of leather-clad early risers as she would have during peak hours at a rave. “For her, that was her comfort zone.”\u003c/span>\u003c/p>\n\u003cp>Sadly, Cherushii, whose real name is Chelsea Faith Dolan, was killed in the 2016 Ghost Ship fire just as she was hitting her creative stride.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Right before her passing, things were going so great for her. She was doing bigger and better gigs every week, producing a lot—she never stopped,”\u003c/span> says Minerva in a phone interview from Los Angeles. She and Cherushii had been in the process of completing a collaborative album in the months leading up to her death.\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>After two years of working to finish the project amid a difficult grieving process, Minerva releases her album with Cherushii via 100% Silk on Feb. 15. Titled \u003cem>S/T\u003c/em>, it offers a glimpse into the new, exalted house-pop direction Cherushii was reaching for before her passing.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=753160670/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Soulful, ebullient and effervescent are some ways to describe Cherushii’s approach to house music, which harked back to the funky, jubilant expressions of influential ’90s acts like \u003ca href=\"https://youtu.be/MdoKsW6-r-M\" target=\"_blank\" rel=\"noopener\">Inner City\u003c/a> and \u003ca href=\"https://youtu.be/644UU55eyzk\" target=\"_blank\" rel=\"noopener\">Frankie Knuckles\u003c/a>.\u003c/p>\n\u003cp>On \u003cem>S/T\u003c/em>, Cherushii’s deep, pulsing grooves and heavy-reverb synths recall the work of pioneering pop producer \u003ca href=\"https://youtu.be/RK4Gr0Z1gsA\" target=\"_blank\" rel=\"noopener\">Giorgio Moroder\u003c/a>, who’s responsible for some of Donna Summer’s biggest hits. With Minerva’s melancholy lyrics about solitude and heartbreak against Cherushii’s ecstatic production, \u003cem>S/T\u003c/em> would sit comfortably on a playlist with tracks like “\u003ca href=\"https://youtu.be/8o5BHH9U2Mg\" target=\"_blank\" rel=\"noopener\">Missing U\u003c/a>” by Robyn or “\u003ca href=\"https://www.youtube.com/watch?v=rEamE0MYPkg\" target=\"_blank\" rel=\"noopener\">Everything is Embarrassing\u003c/a>” by Sky Ferreira—sparkly dance-pop tunes that belie pensive, emotional lyrics. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“More so than other musicians I worked with, [Cherushii] was inspired by the notion of making songs for people to thrill to, and bond to and celebrate to,” says Britt Brown, the co-owner of 100% Silk. “She wasn’t one of those people who’d write a song because she’s sad and it’s a sad song. … It was this revved up, joyful party song.”\u003c/span>\u003c/p>\n\u003cp>“Out by Myself,” about the feeling of transcendence on the dance floor, captures how the pure love of a good beat propelled Cherushii’s creative process. (Her romantic and creative partner David Last assisted with mixing on the track.) On \u003cem>S/T\u003c/em> and in Cherushii’s solo work, her songs are often lengthy, with play times of up to eight minutes. Her maximalist beats beckon the listener—who is also often a dancer—to find the groove and hang out in it for a while, allowing melodic twists and turns to take them to new heights of spiritual ecstasy.\u003c/p>\n\u003cfigure id=\"attachment_13850859\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13850859\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/02/folsom-800x799.png\" alt=\"Cherushii and Maria Minerva performing at Folsom Street Fair. \" width=\"800\" height=\"799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-800x799.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-160x160.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-768x767.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1020x1018.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-1200x1198.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-32x32.png 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-50x50.png 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-64x64.png 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-96x96.png 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-128x128.png 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom-150x150.png 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/folsom.png 1312w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cherushii and Maria Minerva performing at Folsom Street Fair. \u003ccite>(Colleen Dolan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Brown and Minerva say that Cherushii sometimes felt under-recognized as a producer, and Minerva laments that Cherushii passed away before gender equality became a major topic of conversation in the electronic music world. Now, many international festivals have committed to \u003ca href=\"https://www.bbc.com/news/entertainment-arts-43196414\" target=\"_blank\" rel=\"noopener\">booking 50 percent women\u003c/a> for their lineups by 2022. Female producers \u003ca href=\"https://www.thefader.com/2018/03/15/budx-seoul-peggy-gou-interview-boiler-room-budweiser\" target=\"_blank\" rel=\"noopener\">Peggy Gou\u003c/a> and \u003ca href=\"https://www.thefader.com/2018/06/05/yaeji-cover-story\" target=\"_blank\" rel=\"noopener\">Yaeji\u003c/a> have emerged as two of club music’s biggest stars, and their work shares Cherushii’s joyous, life-affirming sensibility.\u003c/p>\n\u003cp>“She would complain to me about the party scene in San Francisco—and that’s like throwing shade now—but a lot of the male producers and DJs would look through her and not give her the time of day,” Minerva says. “Now the music world is waking up to the fact that it’s happening, and festival lineups get called out for the lack of women.”\u003c/p>\n\u003cp>“That never happened five years ago,” she continues, “And it’s a shame because I feel like she would have benefited from that new awareness.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13848833/on-her-posthumous-album-cherushiis-ecstatic-vision-is-crystal-clear","authors":["11387"],"categories":["arts_69","arts_1564"],"tags":["arts_1501","arts_1118","arts_1559","arts_1627","arts_596"],"featImg":"arts_13850857","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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And you join us on the journey to find the answers.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg","imageAlt":"\"KQED Bay Curious","officialWebsiteLink":"/news/series/baycurious","meta":{"site":"news","source":"kqed","order":"4"},"link":"/podcasts/baycurious","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/bay-curious/id1172473406","npr":"https://www.npr.org/podcasts/500557090/bay-curious","rss":"https://ww2.kqed.org/news/category/bay-curious-podcast/feed/podcast","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvbmV3cy9jYXRlZ29yeS9iYXktY3VyaW91cy1wb2RjYXN0L2ZlZWQvcG9kY2FzdA","stitcher":"https://www.stitcher.com/podcast/kqed/bay-curious","spotify":"https://open.spotify.com/show/6O76IdmhixfijmhTZLIJ8k"}},"bbc-world-service":{"id":"bbc-world-service","title":"BBC World Service","info":"The day's top stories from BBC News compiled twice daily in the week, once at weekends.","airtime":"MON-FRI 9pm-10pm, TUE-FRI 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.bbc.co.uk/sounds/play/live:bbc_world_service","meta":{"site":"news","source":"BBC World Service"},"link":"/radio/program/bbc-world-service","subscribe":{"apple":"https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2","tuneIn":"https://tunein.com/radio/BBC-World-Service-p455581/","rss":"https://podcasts.files.bbci.co.uk/p02nq0gn.rss"}},"code-switch-life-kit":{"id":"code-switch-life-kit","title":"Code Switch / Life Kit","info":"\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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