‘Requiem Sinfónica’ Honors Ghost Ship Victims with Music and Hope
‘Ghostship’ Party Changes Name After Fire Survivors Speak Out
State Senator Introduces Legislation to Protect Live-Work and Warehouse Residences
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For Oakland's Wounded Music Scene, No Ghost Ship Verdict Could Deliver Justice
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A Symphonic Requiem for Ghost Ship Fire Victims
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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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Requiem Sinfónica’ Honors Ghost Ship Victims with Music and Hope","datePublished":"2022-11-29T21:59:08.000Z","dateModified":"2024-01-11T20:48:39.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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_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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"‘Ghostship’ Party Changes Name After Fire Survivors Speak Out","datePublished":"2021-10-14T19:57:13.000Z","dateModified":"2024-01-11T21:13:35.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"State Senator Introduces Legislation to Protect Live-Work and Warehouse Residences","datePublished":"2020-02-05T01:44:16.000Z","dateModified":"2024-01-12T01:02:38.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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_13870496":{"type":"posts","id":"arts_13870496","meta":{"index":"posts_1591205157","site":"arts","id":"13870496","score":null,"sort":[1574895091000]},"guestAuthors":[],"slug":"the-do-list-sister-act-pharaoh-sanders-and-more-for-nov-28-dec-4","title":"The Do List: 'Sister Act,' Pharaoh Sanders and More for Nov. 28–Dec. 4","publishDate":1574895091,"format":"standard","headTitle":"The Do List: ‘Sister Act,’ Pharaoh Sanders and More for Nov. 28–Dec. 4 | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Sister Act\u003c/strong>: This Whoopi Goldberg-starring film was shot in San Francisco—Noe Valley, to be precise—in 1991. The journalist Peter Hartlaub from the \u003cem>San Francisco Chronicle\u003c/em> has spent his past few weeks \u003ca href=\"https://www.sfchronicle.com/culture/article/Sister-Act-transformed-Noe-Valley-into-a-14865742.php\" rel=\"noopener noreferrer\" target=\"_blank\">obsessively finding the exact filming locations\u003c/a> of the movie. You won’t recognize a lot of the neighborhood in the movie—the crew even transformed a corner real estate building into an X-rated adult bookstore for the film—but that’s part of the fun. Hartlaub and his colleague Heather Knight host a screening of \u003cem>Sister Act\u003c/em> next week, with two opening acts: a bagpipe player, and the official 2019 Cable Car Bell ringing champion. That’s on Thursday, Dec. 5, at the Balboa Theater in San Francisco. \u003ca href=\"https://ticketing.us.veezi.com/purchase/2786?siteToken=52wkfzmjpwjjfpz3ye7tz8wscg\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Pharoah Sanders\u003c/strong>: This 79-year-old jazz legend is immediately recognizable for his viscerally abrasive, ever-searching style of tenor saxophone, an inimitable voice honed in the Sun Ra Arkestra and John Coltrane ensembles before leading his own groups. As a bandleader in the late 1960s, Sanders continued exploring free and spiritual jazz on a staggering run of albums for the Impulse! label, by turns intoning peace with wounded lyricism and reveling in explosive, anguished intensity. Sanders last played the Bay Area in 2017, part of a program recognizing Coltrane, and returns with the same collaborators—pianist William Henderson, bassist Nat Reeves and drummer Johnathan Blake—for two sets a night on Friday and Saturday, Nov. 29 and 30, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/calendar/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Ghost Ship Memorial\u003c/strong>: It’s been three years since the Ghost Ship warehouse fire in Oakland that took the lives of 36 people at an underground show. Many of them were musicians and artists, and each year, to remember them, there’ve been memorial concerts and special gatherings. The one this Sunday is both: an art show of work by artists who died at Ghost Ship, and a concert by the chamber choral ensemble Voices of Silicon Valley, who will be joined by two bands whose members were close with people who died in the Ghost Ship fire: Abandoned Footwear and Marmot. That’s on Sunday, Dec. 1, at the Lake Merritt United Methodist Church in Oakland. \u003ca href=\"https://www.voices-sv.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Tune-Yards Listening Party\u003c/strong>: Bar Shiru opened this year in Oakland as the Bay Area’s first Japanese-style hi-fi bar, meaning it has a really nice analog sound-system and people are supposed to be quiet. Tune-Yards, the local indie-rock group, created the distinct score for Boots Riley’s funny, provocative Oakland-set film \u003cem>Sorry to Bother You\u003c/em>, and they’re hosting a listening party for it at Bar Shiru alongside a DJ set by Boots himself. This event, in keeping with Boots’ activism and the movie’s political themes, is a fundraiser. The proceeds benefit Moms 4 Housing, a group of homeless women who are occupying an empty investor-owned home in West Oakland, without permission, to protest the housing crisis. That’s Sunday, Dec. 1, at 2pm, at Bar Shiru in Oakland. \u003ca href=\"https://www.barshiru.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n","blocks":[],"excerpt":null,"status":"publish","parent":0,"modified":1705021764,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":581},"headData":{"title":"The Do List: 'Sister Act,' Pharaoh Sanders and More for Nov. 28–Dec. 4 | KQED","description":"Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more. You can listen to this week's episode with KQED's Gabe Meline and Sam Lefebvre above, or read about our picks below. Sister Act: This Whoopi Goldberg-starring film was shot in","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Do List: 'Sister Act,' Pharaoh Sanders and More for Nov. 28–Dec. 4","datePublished":"2019-11-27T22:51:31.000Z","dateModified":"2024-01-12T01:09:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1574928000,"endTime":1575532800,"startTimeString":"Nov. 28–Dec. 4","path":"/arts/13870496/the-do-list-sister-act-pharaoh-sanders-and-more-for-nov-28-dec-4","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Sister Act\u003c/strong>: This Whoopi Goldberg-starring film was shot in San Francisco—Noe Valley, to be precise—in 1991. The journalist Peter Hartlaub from the \u003cem>San Francisco Chronicle\u003c/em> has spent his past few weeks \u003ca href=\"https://www.sfchronicle.com/culture/article/Sister-Act-transformed-Noe-Valley-into-a-14865742.php\" rel=\"noopener noreferrer\" target=\"_blank\">obsessively finding the exact filming locations\u003c/a> of the movie. You won’t recognize a lot of the neighborhood in the movie—the crew even transformed a corner real estate building into an X-rated adult bookstore for the film—but that’s part of the fun. Hartlaub and his colleague Heather Knight host a screening of \u003cem>Sister Act\u003c/em> next week, with two opening acts: a bagpipe player, and the official 2019 Cable Car Bell ringing champion. That’s on Thursday, Dec. 5, at the Balboa Theater in San Francisco. \u003ca href=\"https://ticketing.us.veezi.com/purchase/2786?siteToken=52wkfzmjpwjjfpz3ye7tz8wscg\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Pharoah Sanders\u003c/strong>: This 79-year-old jazz legend is immediately recognizable for his viscerally abrasive, ever-searching style of tenor saxophone, an inimitable voice honed in the Sun Ra Arkestra and John Coltrane ensembles before leading his own groups. As a bandleader in the late 1960s, Sanders continued exploring free and spiritual jazz on a staggering run of albums for the Impulse! label, by turns intoning peace with wounded lyricism and reveling in explosive, anguished intensity. Sanders last played the Bay Area in 2017, part of a program recognizing Coltrane, and returns with the same collaborators—pianist William Henderson, bassist Nat Reeves and drummer Johnathan Blake—for two sets a night on Friday and Saturday, Nov. 29 and 30, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/calendar/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Ghost Ship Memorial\u003c/strong>: It’s been three years since the Ghost Ship warehouse fire in Oakland that took the lives of 36 people at an underground show. Many of them were musicians and artists, and each year, to remember them, there’ve been memorial concerts and special gatherings. The one this Sunday is both: an art show of work by artists who died at Ghost Ship, and a concert by the chamber choral ensemble Voices of Silicon Valley, who will be joined by two bands whose members were close with people who died in the Ghost Ship fire: Abandoned Footwear and Marmot. That’s on Sunday, Dec. 1, at the Lake Merritt United Methodist Church in Oakland. \u003ca href=\"https://www.voices-sv.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \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\u003cp>\u003cstrong>Tune-Yards Listening Party\u003c/strong>: Bar Shiru opened this year in Oakland as the Bay Area’s first Japanese-style hi-fi bar, meaning it has a really nice analog sound-system and people are supposed to be quiet. Tune-Yards, the local indie-rock group, created the distinct score for Boots Riley’s funny, provocative Oakland-set film \u003cem>Sorry to Bother You\u003c/em>, and they’re hosting a listening party for it at Bar Shiru alongside a DJ set by Boots himself. This event, in keeping with Boots’ activism and the movie’s political themes, is a fundraiser. The proceeds benefit Moms 4 Housing, a group of homeless women who are occupying an empty investor-owned home in West Oakland, without permission, to protest the housing crisis. That’s Sunday, Dec. 1, at 2pm, at Bar Shiru in Oakland. \u003ca href=\"https://www.barshiru.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870496/the-do-list-sister-act-pharaoh-sanders-and-more-for-nov-28-dec-4","authors":["185"],"programs":["arts_140"],"categories":["arts_73","arts_835","arts_74","arts_69"],"tags":["arts_1998","arts_977","arts_1559","arts_2271","arts_1584","arts_4107"],"featImg":"arts_13870499","label":"arts_140"},"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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"For Oakland's Wounded Music Scene, No Ghost Ship Verdict Could Deliver Justice","datePublished":"2019-09-06T15:24:55.000Z","dateModified":"2024-01-12T01:16:37.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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_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":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"On Her Posthumous Album, Cherushii's Ecstatic Vision is Crystal Clear","datePublished":"2019-02-14T23:22:37.000Z","dateModified":"2024-01-12T02:29:57.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"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"},"arts_13847170":{"type":"posts","id":"arts_13847170","meta":{"index":"posts_1591205157","site":"arts","id":"13847170","score":null,"sort":[1544803242000]},"guestAuthors":[],"slug":"the-10-best-bay-area-albums-of-2018-russell-e-l-butler-the-home-id-build-for-myself-and-all-my-friends","title":"The 10 Best Bay Area Albums of 2018: Russell E.L. Butler, 'The Home I'd Build for Myself and All My Friends'","publishDate":1544803242,"format":"aside","headTitle":"The 10 Best Bay Area Albums of 2018: Russell E.L. Butler, ‘The Home I’d Build for Myself and All My Friends’ | KQED","labelTerm":{"term":6139,"site":"arts"},"content":"\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13847211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg\" alt=\"\" width=\"800\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>For some, going to a rave is an opportunity for healing, a way to cultivate a mind-body connection by moving to the rhythm with friends and strangers in the dark. But for Oakland producer \u003ca href=\"https://www.kqed.org/arts/13844497/after-ghost-ship-russell-e-l-butler-composes-a-new-home\" target=\"_blank\" rel=\"noopener\">Russell E.L. Butler\u003c/a>, it’s deeper than that.\u003c/p>\n\u003cp>On their November release, \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>(Left Hand Path), Butler (who prefers the pronoun “they”) uses techno as a language to grapple with the aftermath of the Ghost Ship fire, which they narrowly escaped. Throughout the album, Butler’s jagged beats, with thudding bass lines and tempestuous synths, give voice to the painful process of recovering from trauma.\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=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>As many have pointed out, the artists who perished at Ghost Ship gathered in the unsafe warehouse out of necessity amid Oakland’s lack of affordable spaces to live, create and perform. With \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, Butler imagines a society that prioritizes the well-being of queer, trans, black, immigrant and low-income artists. But, as Butler told me when I interviewed them in November, there’s no getting there without a fight.\u003c/p>\n\u003cp>Fittingly, the music Butler created to articulate these ideas is rife with friction. After ambient intro “Tuning Fork,” “Builder” cuts in with a pounding break beat. Its yo-yoing synth-lines lull listeners into a hypnotic state before the \u003cem>thwack\u003c/em> of each snare jolts them awake. “No New Neighbors,” another standout track, pulses to a funky bass line as increasingly suspenseful synths build tension that never resolves. [contextly_sidebar id=”MXch0Z3vP2FmUmoWmGgZX2Owfjgsk3gl”]\u003c/p>\n\u003cp>Though the album’s tense mood rarely shifts, the song titles on the second half of the record suggest new growth and regeneration. On “Cure Water,” sparkling synths bubble up out of a long, drawn-out bass line like seedlings sprouting from moist soil. On “Garden’s Gift,” which evokes a bit of Detroit techno, Miami bass and punk rock, fast-and-loose cymbals invite the listener to shake everything off. [contextly_sidebar id=”otqWU6O0wT3dQSxc2qiK5B8HB3BvqUr1″]\u003c/p>\n\u003cp>Not every producer can imbue wordless techno with a tangible concept, but Butler pulls it off by infusing their beats with the visceral feeling of struggle and unease that accompanies going through a period of growth. \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is a fascinating work that returns to techno’s roots as a liberatory genre, where rhythm allows humanity to unite and work towards a better future.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n","blocks":[],"excerpt":"The Oakland producer taps into techno's liberatory potential to heal from trauma. ","status":"publish","parent":0,"modified":1705026853,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":464},"headData":{"title":"The 10 Best Bay Area Albums of 2018: Russell E.L. Butler, 'The Home I'd Build for Myself and All My Friends' | KQED","description":"The Oakland producer taps into techno's liberatory potential to heal from trauma. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The 10 Best Bay Area Albums of 2018: Russell E.L. Butler, 'The Home I'd Build for Myself and All My Friends'","datePublished":"2018-12-14T16:00:42.000Z","dateModified":"2024-01-12T02:34:13.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13847170/the-10-best-bay-area-albums-of-2018-russell-e-l-butler-the-home-id-build-for-myself-and-all-my-friends","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-medium wp-image-13847211\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg\" alt=\"\" width=\"800\" height=\"801\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-800x801.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-768x769.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-1020x1021.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover.jpg 1199w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/12/russell-cover-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>We’re posting our favorite Bay Area albums of 2018 every weekday through Dec. 14. \u003ca href=\"https://www.kqed.org/arts/tag/best-bay-area-albums-2018\" target=\"_blank\" rel=\"noopener\">Check here\u003c/a> to see who else made the list.\u003c/em>\u003c/p>\n\u003cp>For some, going to a rave is an opportunity for healing, a way to cultivate a mind-body connection by moving to the rhythm with friends and strangers in the dark. But for Oakland producer \u003ca href=\"https://www.kqed.org/arts/13844497/after-ghost-ship-russell-e-l-butler-composes-a-new-home\" target=\"_blank\" rel=\"noopener\">Russell E.L. Butler\u003c/a>, it’s deeper than that.\u003c/p>\n\u003cp>On their November release, \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>(Left Hand Path), Butler (who prefers the pronoun “they”) uses techno as a language to grapple with the aftermath of the Ghost Ship fire, which they narrowly escaped. Throughout the album, Butler’s jagged beats, with thudding bass lines and tempestuous synths, give voice to the painful process of recovering from trauma.\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=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" 0=\"seamless\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>As many have pointed out, the artists who perished at Ghost Ship gathered in the unsafe warehouse out of necessity amid Oakland’s lack of affordable spaces to live, create and perform. With \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, Butler imagines a society that prioritizes the well-being of queer, trans, black, immigrant and low-income artists. But, as Butler told me when I interviewed them in November, there’s no getting there without a fight.\u003c/p>\n\u003cp>Fittingly, the music Butler created to articulate these ideas is rife with friction. After ambient intro “Tuning Fork,” “Builder” cuts in with a pounding break beat. Its yo-yoing synth-lines lull listeners into a hypnotic state before the \u003cem>thwack\u003c/em> of each snare jolts them awake. “No New Neighbors,” another standout track, pulses to a funky bass line as increasingly suspenseful synths build tension that never resolves. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Though the album’s tense mood rarely shifts, the song titles on the second half of the record suggest new growth and regeneration. On “Cure Water,” sparkling synths bubble up out of a long, drawn-out bass line like seedlings sprouting from moist soil. On “Garden’s Gift,” which evokes a bit of Detroit techno, Miami bass and punk rock, fast-and-loose cymbals invite the listener to shake everything off. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Not every producer can imbue wordless techno with a tangible concept, but Butler pulls it off by infusing their beats with the visceral feeling of struggle and unease that accompanies going through a period of growth. \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is a fascinating work that returns to techno’s roots as a liberatory genre, where rhythm allows humanity to unite and work towards a better future.\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>\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\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13847170/the-10-best-bay-area-albums-of-2018-russell-e-l-butler-the-home-id-build-for-myself-and-all-my-friends","authors":["11387"],"series":["arts_6139"],"categories":["arts_69"],"tags":["arts_1501","arts_1118","arts_1559","arts_6140"],"featImg":"arts_13847212","label":"arts_6139"},"arts_13845021":{"type":"posts","id":"arts_13845021","meta":{"index":"posts_1591205157","site":"arts","id":"13845021","score":null,"sort":[1542327258000]},"guestAuthors":[],"slug":"a-symphonic-requiem-for-ghost-ship-fire-victims","title":"A Symphonic Requiem for Ghost Ship Fire Victims","publishDate":1542327258,"format":"standard","headTitle":"A Symphonic Requiem for Ghost Ship Fire Victims | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Richard Marriott was across the world, in Bali, when the Ghost Ship warehouse in Oakland caught on fire, killing 36 people. But it still felt very, very close to home for the San Francisco composer and Club Foot Orchestra founder. Marriott spent years living in the Mission District warehouse 18 Sycamore, sharing space with groups like the Residents and Tuxedomoon, and says he knows all too well the “certain element of danger” in the artist’s pursuit. \u003c/p>\n\u003cp>“It could have been us at 18 Sycamore,” Marriott says of the Ghost Ship fire. “It’s really just kind of an open wound. You’re a young artist involved in experimentation, discovery, freedom, and the vast reaches of your mind, and just to have this… it’s devastating.”\u003c/p>\n\u003cp>[contextly_sidebar id=”LsCCJUn1BRALaHV2CLiMpFJy1lR507zF”]\u003c/p>\n\u003cp>\u003cem>Ghost Ship Concerto\u003c/em>, premiering \u003ca href=\"https://www.oaklandsymphony.org/event/brahms-requiem/\" rel=\"noopener\" target=\"_blank\">Nov. 16 with the Oakland Symphony\u003c/a>, is Marriott’s way of helping process that devastation. His composition, 24 minutes long across three movements, includes musical representations of freedom, travel, oscillators, romance, EDM music, and sailing. A French Horn duet evokes living harmoniously; a barrage of percussion represents the fire itself; a solo cello with strings provides the piece’s final elegy.\u003c/p>\n\u003cp>Classical music may appear to be miles apart, stylistically, from the underground electronic music that’s a staple at warehouse spaces. But the project was so personal for Marriott that he studied the music performed at the Ghost Ship warehouse, and replicated it in motifs for the concerto—transforming the kinship he shared with those in the Ghost Ship fire into a musical one.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All told, the piece is designed to provide reflection, inspiration, and healing for the fire, the aftereffects of which still linger nearly two years later—and not just in Oakland, either. Marriott is quick to note that all around the world, creative people saw themselves in the Ghost Ship artists, having shared the same early experience of struggle no matter their practice or genre.\u003c/p>\n\u003cp>“Most classical composers, even those with big commissions, are not far from that experience of living off the grid. Most of them know this life,” he says. “And you can leave that type of life, but it leaves its mark. Artists keep coming back to it. It never leaves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Requiem for Ghost Ship’ includes Marriott’s ‘Ghost Ship Concerto,’ Leonard Bernstein’s ‘Take Care of This House’ and Johannes Brahms’ ‘Ein Deutsches Requiem’ on Friday, Nov. 16, at the Paramount Theater in Oakland. \u003ca href=\"https://www.oaklandsymphony.org/event/brahms-requiem/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new work in three movements by composer Richard Marriott evokes the Oakland warehouse fire.","status":"publish","parent":0,"modified":1705027008,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":442},"headData":{"title":"A Symphonic Requiem for Ghost Ship Fire Victims | KQED","description":"A new work in three movements by composer Richard Marriott evokes the Oakland warehouse fire.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Symphonic Requiem for Ghost Ship Fire Victims","datePublished":"2018-11-16T00:14:18.000Z","dateModified":"2024-01-12T02:36:48.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13845021/a-symphonic-requiem-for-ghost-ship-fire-victims","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Richard Marriott was across the world, in Bali, when the Ghost Ship warehouse in Oakland caught on fire, killing 36 people. But it still felt very, very close to home for the San Francisco composer and Club Foot Orchestra founder. Marriott spent years living in the Mission District warehouse 18 Sycamore, sharing space with groups like the Residents and Tuxedomoon, and says he knows all too well the “certain element of danger” in the artist’s pursuit. \u003c/p>\n\u003cp>“It could have been us at 18 Sycamore,” Marriott says of the Ghost Ship fire. “It’s really just kind of an open wound. You’re a young artist involved in experimentation, discovery, freedom, and the vast reaches of your mind, and just to have this… it’s devastating.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>Ghost Ship Concerto\u003c/em>, premiering \u003ca href=\"https://www.oaklandsymphony.org/event/brahms-requiem/\" rel=\"noopener\" target=\"_blank\">Nov. 16 with the Oakland Symphony\u003c/a>, is Marriott’s way of helping process that devastation. His composition, 24 minutes long across three movements, includes musical representations of freedom, travel, oscillators, romance, EDM music, and sailing. A French Horn duet evokes living harmoniously; a barrage of percussion represents the fire itself; a solo cello with strings provides the piece’s final elegy.\u003c/p>\n\u003cp>Classical music may appear to be miles apart, stylistically, from the underground electronic music that’s a staple at warehouse spaces. But the project was so personal for Marriott that he studied the music performed at the Ghost Ship warehouse, and replicated it in motifs for the concerto—transforming the kinship he shared with those in the Ghost Ship fire into a musical one.\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>All told, the piece is designed to provide reflection, inspiration, and healing for the fire, the aftereffects of which still linger nearly two years later—and not just in Oakland, either. Marriott is quick to note that all around the world, creative people saw themselves in the Ghost Ship artists, having shared the same early experience of struggle no matter their practice or genre.\u003c/p>\n\u003cp>“Most classical composers, even those with big commissions, are not far from that experience of living off the grid. Most of them know this life,” he says. “And you can leave that type of life, but it leaves its mark. Artists keep coming back to it. It never leaves.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Requiem for Ghost Ship’ includes Marriott’s ‘Ghost Ship Concerto,’ Leonard Bernstein’s ‘Take Care of This House’ and Johannes Brahms’ ‘Ein Deutsches Requiem’ on Friday, Nov. 16, at the Paramount Theater in Oakland. \u003ca href=\"https://www.oaklandsymphony.org/event/brahms-requiem/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13845021/a-symphonic-requiem-for-ghost-ship-fire-victims","authors":["185"],"programs":["arts_140"],"categories":["arts_835","arts_69"],"tags":["arts_1559","arts_1627","arts_596"],"featImg":"arts_13845031","label":"arts_140"},"arts_13844497":{"type":"posts","id":"arts_13844497","meta":{"index":"posts_1591205157","site":"arts","id":"13844497","score":null,"sort":[1542139232000]},"guestAuthors":[],"slug":"after-ghost-ship-russell-e-l-butler-composes-a-new-home","title":"After Ghost Ship, Russell E.L. Butler Composes a New 'Home'","publishDate":1542139232,"format":"image","headTitle":"After Ghost Ship, Russell E.L. Butler Composes a New ‘Home’ | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>A few weeks before the release of Russell E.L. Butler’s long-awaited album, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, the Oakland techno luminary is feeling nostalgic. Butler grew up in Bermuda, a tiny British territory with a majority-black population, in a house full of books. So, for our interview, Butler invites me to meet up at Marcus Books, the oldest black-owned bookstore in the United States and a stone’s throw from the first apartment the artist lived in after settling in Oakland in 2009.\u003c/p>\n\u003cp>Butler first came to Marcus Books a few years ago to drop off donations for a book drive a friend organized for San Quentin inmates. “It felt like something I’d been missing for a long time, this cultural experience,” says Butler as we stand outside the store, next to a mural of a rifle-toting Malcolm X. “These places that center our creativity are invaluable, especially in this age where you can hit ‘add to cart’ and hit ‘subscribe’ and you’re getting your monthly re-up of books.”\u003c/p>\n\u003cp>Butler’s dad, the author \u003ca href=\"http://bernews.com/2016/12/dale-butler-releases-bermuda-nicknames-book/\" target=\"_blank\" rel=\"noopener\">Dale Butler\u003c/a>, devoted his career to chronicling Bermuda’s distinct culture and history at a time when, as often happens in colonized places with melting-pot demographics, inhabitants questioned whether a unique local culture truly exists. “There’s a lot of people back home that talk about Bermudians not having culture, but they’re so culturally rich,” says Butler. “[My dad] felt this obligation to document this stuff so that wouldn’t be an excuse for people.”\u003c/p>\n\u003cp>The younger Butler’s music is rooted in similar ambitions of advocacy through creativity. But \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is less about cultural preservation and more about actively shaping culture in real time—in Butler’s case, working toward a culture that takes care of queer and trans people, black people, immigrants, low-income folks and artists.\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=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"http://lefthandpathwax.bandcamp.com/album/the-home-id-build-for-myself-and-all-my-friends\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For Butler (who uses the pronoun they), a safe space isn’t just some abstract ideal—it’s a material need. They’re an affiliate of Club Chai, the queer- and trans-forward Bay Area club music collective rooted in global rhythms that slip easily between genres and borders. Club Chai grew out of a warehouse scene that Butler became immersed in upon moving to Oakland after graduating from School of the Museum of Fine Arts at Tufts University. It’s the same underground electronic music scene that suffered an immense loss in the 2016 Ghost Ship fire. [contextly_sidebar id=”Tz9nt8MIrN9kA7tinlDJwpLwAVR5RktK”]\u003c/p>\n\u003cp>Butler was slated to perform that night on Dec. 2, 2016, but happened to be outside the East Oakland artist warehouse when it went up in flames. Sadly, they lost 17 of their friends, many of whom were queer and trans underground electronic musicians.\u003c/p>\n\u003cp>The music Butler has released since speaks to the artist’s difficult healing process. “I’m 32 and I’m just like, cool, what else life? What else, yo?” Butler tells me as we browse Octavia Butler’s apocalyptic science fiction at Marcus. “I survived all these things I thought would kill me. What now?”\u003c/p>\n\u003cp>In early 2017, Butler released an EP, \u003cem>I’m Dropping Out of Life\u003c/em>, which was already in the works before the Ghost Ship fire; Butler had been workshopping two of the tracks in a producers’ meetup group run by Chelsea Faith Dolan, a.k.a. Cherushii, a beloved local house musician who died at Ghost Ship. While in the liner notes, Butler specified that the life they’re dropping out of is an \u003cem>uninspired\u003c/em> one, alluding to the need to seize the day, the record’s sentiment was decidedly dour compared to the emphasis on creation and possibility for \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, which comes out on Nov. 15 through San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a>. [contextly_sidebar id=”d9yBi2RWNkULQlpCi1PB0QKrPRL9jGBK”]\u003c/p>\n\u003cp>That said, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em> isn’t the soothing music of an imagined utopia: sonically, it manifests many of the tensions and struggles of everyday life in a polarized place like Oakland—where luxury apartments are jarringly juxtaposed next to homeless encampments, and violence is as enmeshed in the day-to-day as art and music. Not traditional techno by any means, Butler’s tracks sound like they’re wrestling, fighting. Fat bass lines jut out like springs; eerie synth notes creep, like an approaching shadow in one’s peripheral vision, with a tension that never quite dissipates.\u003c/p>\n\u003cp>“It’s not to elicit this feeling for foreboding or negativity—it’s in order to elicit this extreme complexity, and feeling overwhelmed,” Butler says. “Because of the album’s name and its look, I thought a lot about, if I’m trying to create this space, am I at all served by thinking of it in a utopic fashion? … I’m creating this idealistic space, but that doesn’t mean there isn’t a breadth and depth of feeling in that. It isn’t all sunshine and rainbows and shit. It’s hard work and struggle.”\u003c/p>\n\u003cfigure id=\"attachment_13844582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg\" alt=\"Russell E.L. Butler. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russell E.L. Butler. \u003ccite>(Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This ability to hold seemingly contradictory realities at once stems from Butler’s life experiences as a queer, non-binary immigrant. They’re used to often being the first: the first Bermudan person people meet in Oakland, the first person who uses “they/them” pronouns someone encounters, the first black person who isn’t African American. For a long time, as their star rose in the local scene, they felt isolated constantly having to translate their identity to strangers. But eventually, they shifted their perspective and began to view their unique circumstances as a position of possibility to move the culture forward.\u003c/p>\n\u003cp>“In my knowledge and my upbringing at the very least, I didn’t learn about people doing what I’m doing, who look like me and are from where I’m from, who were involved in any measure of this shit at all,” says Butler. “I have some trepidation saying I’m the first X, but a lot of the time I am. And that comes with a lot of responsibility I take really seriously.”\u003c/p>\n\u003cp>This sense of responsibility means forging new paths, new ways of thought, for the lofty ambition of building a more equitable society, Butler says. On \u003cem>The Home I’d Build for Myself and All My Friends,\u003c/em> techno is the language Butler uses to bring these new realities into being.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As Butler tells me, “I’m forging the history of my people as I’m creating it.”\u003c/p>\n\n","blocks":[],"excerpt":"On the Oakland producer's new album, the tension of queer immigrant identity becomes inspiration. ","status":"publish","parent":0,"modified":1705027025,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":true,"iframeSrcs":["https://bandcamp.com/EmbeddedPlayer/album=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/"],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":17,"wordCount":1211},"headData":{"title":"After Ghost Ship, Russell E.L. Butler Composes a New 'Home' | KQED","description":"On the Oakland producer's new album, the tension of queer immigrant identity becomes inspiration. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"After Ghost Ship, Russell E.L. Butler Composes a New 'Home'","datePublished":"2018-11-13T20:00:32.000Z","dateModified":"2024-01-12T02:37:05.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13844497/after-ghost-ship-russell-e-l-butler-composes-a-new-home","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>A few weeks before the release of Russell E.L. Butler’s long-awaited album, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, the Oakland techno luminary is feeling nostalgic. Butler grew up in Bermuda, a tiny British territory with a majority-black population, in a house full of books. So, for our interview, Butler invites me to meet up at Marcus Books, the oldest black-owned bookstore in the United States and a stone’s throw from the first apartment the artist lived in after settling in Oakland in 2009.\u003c/p>\n\u003cp>Butler first came to Marcus Books a few years ago to drop off donations for a book drive a friend organized for San Quentin inmates. “It felt like something I’d been missing for a long time, this cultural experience,” says Butler as we stand outside the store, next to a mural of a rifle-toting Malcolm X. “These places that center our creativity are invaluable, especially in this age where you can hit ‘add to cart’ and hit ‘subscribe’ and you’re getting your monthly re-up of books.”\u003c/p>\n\u003cp>Butler’s dad, the author \u003ca href=\"http://bernews.com/2016/12/dale-butler-releases-bermuda-nicknames-book/\" target=\"_blank\" rel=\"noopener\">Dale Butler\u003c/a>, devoted his career to chronicling Bermuda’s distinct culture and history at a time when, as often happens in colonized places with melting-pot demographics, inhabitants questioned whether a unique local culture truly exists. “There’s a lot of people back home that talk about Bermudians not having culture, but they’re so culturally rich,” says Butler. “[My dad] felt this obligation to document this stuff so that wouldn’t be an excuse for people.”\u003c/p>\n\u003cp>The younger Butler’s music is rooted in similar ambitions of advocacy through creativity. But \u003cem>The Home I’d Build For Myself and All My Friends \u003c/em>is less about cultural preservation and more about actively shaping culture in real time—in Butler’s case, working toward a culture that takes care of queer and trans people, black people, immigrants, low-income folks and artists.\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=45713922/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" href=\"http://lefthandpathwax.bandcamp.com/album/the-home-id-build-for-myself-and-all-my-friends\" 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>For Butler (who uses the pronoun they), a safe space isn’t just some abstract ideal—it’s a material need. They’re an affiliate of Club Chai, the queer- and trans-forward Bay Area club music collective rooted in global rhythms that slip easily between genres and borders. Club Chai grew out of a warehouse scene that Butler became immersed in upon moving to Oakland after graduating from School of the Museum of Fine Arts at Tufts University. It’s the same underground electronic music scene that suffered an immense loss in the 2016 Ghost Ship fire. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Butler was slated to perform that night on Dec. 2, 2016, but happened to be outside the East Oakland artist warehouse when it went up in flames. Sadly, they lost 17 of their friends, many of whom were queer and trans underground electronic musicians.\u003c/p>\n\u003cp>The music Butler has released since speaks to the artist’s difficult healing process. “I’m 32 and I’m just like, cool, what else life? What else, yo?” Butler tells me as we browse Octavia Butler’s apocalyptic science fiction at Marcus. “I survived all these things I thought would kill me. What now?”\u003c/p>\n\u003cp>In early 2017, Butler released an EP, \u003cem>I’m Dropping Out of Life\u003c/em>, which was already in the works before the Ghost Ship fire; Butler had been workshopping two of the tracks in a producers’ meetup group run by Chelsea Faith Dolan, a.k.a. Cherushii, a beloved local house musician who died at Ghost Ship. While in the liner notes, Butler specified that the life they’re dropping out of is an \u003cem>uninspired\u003c/em> one, alluding to the need to seize the day, the record’s sentiment was decidedly dour compared to the emphasis on creation and possibility for \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em>, which comes out on Nov. 15 through San Francisco label \u003ca href=\"https://lefthandpathwax.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Left Hand Path\u003c/a>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That said, \u003cem>The Home I’d Build For Myself and All My Friends\u003c/em> isn’t the soothing music of an imagined utopia: sonically, it manifests many of the tensions and struggles of everyday life in a polarized place like Oakland—where luxury apartments are jarringly juxtaposed next to homeless encampments, and violence is as enmeshed in the day-to-day as art and music. Not traditional techno by any means, Butler’s tracks sound like they’re wrestling, fighting. Fat bass lines jut out like springs; eerie synth notes creep, like an approaching shadow in one’s peripheral vision, with a tension that never quite dissipates.\u003c/p>\n\u003cp>“It’s not to elicit this feeling for foreboding or negativity—it’s in order to elicit this extreme complexity, and feeling overwhelmed,” Butler says. “Because of the album’s name and its look, I thought a lot about, if I’m trying to create this space, am I at all served by thinking of it in a utopic fashion? … I’m creating this idealistic space, but that doesn’t mean there isn’t a breadth and depth of feeling in that. It isn’t all sunshine and rainbows and shit. It’s hard work and struggle.”\u003c/p>\n\u003cfigure id=\"attachment_13844582\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13844582\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg\" alt=\"Russell E.L. Butler. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/11/IMG_6054-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Russell E.L. Butler. \u003ccite>(Mariah C. Tiffany)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This ability to hold seemingly contradictory realities at once stems from Butler’s life experiences as a queer, non-binary immigrant. They’re used to often being the first: the first Bermudan person people meet in Oakland, the first person who uses “they/them” pronouns someone encounters, the first black person who isn’t African American. For a long time, as their star rose in the local scene, they felt isolated constantly having to translate their identity to strangers. But eventually, they shifted their perspective and began to view their unique circumstances as a position of possibility to move the culture forward.\u003c/p>\n\u003cp>“In my knowledge and my upbringing at the very least, I didn’t learn about people doing what I’m doing, who look like me and are from where I’m from, who were involved in any measure of this shit at all,” says Butler. “I have some trepidation saying I’m the first X, but a lot of the time I am. And that comes with a lot of responsibility I take really seriously.”\u003c/p>\n\u003cp>This sense of responsibility means forging new paths, new ways of thought, for the lofty ambition of building a more equitable society, Butler says. On \u003cem>The Home I’d Build for Myself and All My Friends,\u003c/em> techno is the language Butler uses to bring these new realities into being.\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>As Butler tells me, “I’m forging the history of my people as I’m creating it.”\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13844497/after-ghost-ship-russell-e-l-butler-composes-a-new-home","authors":["11387"],"categories":["arts_69"],"tags":["arts_1501","arts_1118","arts_1559","arts_596"],"featImg":"arts_13844581","label":"arts"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. 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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. 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