Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?
Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party
At the Bay Area Hip-Hop Archives, Leaving a Legacy is an Art
Brett Cook Reflects on 30 Years of Socially Conscious Art
The Colorful History of 1990s Graffiti Zines Comes Alive in New SF Exhibition
‘Tax Dollars Kill’: Spie One’s Decades of Bay Area Graffiti Activism
Honoring Dave Schubert, San Francisco’s Wildest Street Photographer
A Half-Shredded Banksy Piece is Auctioned for $25.4 Million, a Record for the Artist
SF LGBT Center Unveils New ‘Queeroes’ Mural After fnnch Honey Bear Controversy
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Formerly the managing editor of \u003cem>4080\u003c/em> and columnist for \u003cem>The Source\u003c/em>, he chronicled hyphy’s rise and fall, co-curated the Oakland Museum of California’s first hip-hop exhibit in 2018 and won a 2022 Northern California Emmy Award for a mini-documentary on Oakland’s Boogaloo dance culture. 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His name is Handala.\u003c/p>\n\u003cp>A character created by Palestinian newspaper cartoonist Naji al-Ali in 1969 — two years after the \u003ca href=\"https://www.npr.org/series/10738897/the-six-day-war-40-years-on\">1967 Arab-Israeli war\u003c/a> — the boy known as Handala is a symbol of the Palestinian struggle and resistance to occupation to this day.\u003c/p>\n\u003cp>[aside postid='arts_13940282']As the \u003ca href=\"https://www.kqed.org/news/11972402/san-francisco-becomes-largest-city-in-u-s-to-approve-cease-fire-resolution\">Israel-Hamas war rages on in Gaza\u003c/a>, there has been renewed interest in Handala and what he represents. For instance, a group of artists in Italy recently banded together to create a poster that pays tribute to Handala.\u003c/p>\n\u003cp>An Italian publishing house asked artists to send in their work — with one rule: All the figures had to be drawn with their backs to the reader, like Handala.\u003c/p>\n\u003cp>With the 80 submissions it received, the publishing house created a poster \u003ca href=\"https://www.erisedizioni.org/ebook/Handala-1.pdf\">that is available online\u003c/a> and has been circulating widely on social media over the past few months. There is a monster, a mouse and a two-headed person, all with their backs to the reader.\u003c/p>\n\u003cfigure id=\"attachment_13951634\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg\" alt=\"\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1020x1514.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">In Italy, publishing house Eris Edizioni solicited contributions from artists to reimagine Handala and created a poster. It reads: “Without flags and united for Handala / To ask for an immediate cease-fire.” \u003ccite>(Anna Matilde Sali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In solidarity, a \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/viewhttps://ssl.form-mailer.jp/fms/1ca67e6f809306\">group of artists in Japan\u003c/a> created \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/view\">its own poster\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a history of who Handala and his creator are.\u003c/p>\n\u003ch3>Who is Handala?\u003c/h3>\n\u003cp>Handala is forever 10 years old — the age that Ali was when his family was forced to move during the mass displacement of Palestinians in 1948 when the state of Israel was formed. Palestinians and their supporters refer to that displacement as the \u003ca href=\"https://www.npr.org/2023/05/15/1176097958/un-nakba-day-explained-anniversary-palestine-israel\">Nakba\u003c/a>, or Arabic for “catastrophe.”\u003c/p>\n\u003cp>Ali’s refugee boy character shares his name with a resilient, bitter plant that grows in the Middle East called \u003cem>handal\u003c/em>. It has deep roots and will always grow back even if it’s weeded out.\u003c/p>\n\u003cp>[aside postid='arts_13937170']“This character represents insurgency, refusal and struggle,” says Egyptian columnist Nadi Hafez of \u003ca href=\"https://www.alqabas.com/\">\u003cem>al-Qabas\u003c/em> newspaper\u003c/a>, where Ali worked for a long time. “And it satirizes the politics around the Palestinian cause, or the politics of the Arab world, or indeed international politics when it comes to the Palestinian cause.”\u003c/p>\n\u003cp>Handala didn’t turn his back to the reader until 1973, after the Yom Kippur War, when a coalition of Arab countries led by Egypt and Syria fought Israel in October of that year. At the time, there was a push by countries including the U.S. for a settlement of the conflict. By turning Handala’s back to the world, Ali was expressing his rejection of solutions from foreign nations imposed on Palestinians.\u003c/p>\n\u003cp>“The overpowering image is Handala silently watching things going on,” says cartoonist and journalist Joe Sacco, \u003ca href=\"https://www.npr.org/2024/01/18/1225003548/joe-sacco-palestine-gaza-comics-journalism\">author of the graphic novel \u003cem>Palestine\u003c/em>\u003c/a>. “He is silent, but he is observing, and it is clear to the reader that he is knowing, he knows what’s going on. He knows there is hypocrisy.”\u003c/p>\n\u003cfigure id=\"attachment_13951636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-scaled-e1707237141692.jpg\" alt=\"Three images. A cartoon of a two figures with their backs turned, one a small boy, one a girl wearing a hijab. A mural of a small boy holding up a large slice of watermelon. A photo of a leg tattoo featuring a small boy with his back turned.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Just a few of the Handala interpretations that have been circulating on social media. \u003ccite>((L): Instagram @yesimhotinthis; (C) Roots/ Pali Graffiti Art/ Instagram @bodez.art; (R) Instagram @sensualputty, @malamiastudio, Calle Loiza.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During times of upheaval between Israel and Palestinians, Ali sometimes showed Handala engaged in activities that signify resistance, like throwing rocks, although there has been criticism of the way he depicted Israeli soldiers.\u003c/p>\n\u003cp>“The rights of resistance are understood, and when that is expressed through Handala, I think that is just a sign of incredible frustration about diplomacy, peace talks that generally lead nowhere,” Sacco says.\u003c/p>\n\u003ch3>Who was Naji al-Ali, Handala’s creator?\u003c/h3>\n\u003cp>Born in 1938 in the Palestinian village of al-Shajara in Galilee in what is now northern Israel, Naji al-Ali drew more than \u003ca href=\"https://www.versobooks.com/blogs/authors/al-ali-naji\">40,000 cartoons\u003c/a> during his career and was equally critical of Israeli and Arab governments.\u003c/p>\n\u003cp>[aside postid='arts_13937219']Ali was a pan-Arab nationalist and was jailed many times for his anti-government activism.\u003c/p>\n\u003cp>He spent much of his career in Kuwait, where he worked for \u003ca href=\"https://alseyassah.com/\">\u003cem>al-Seyassah\u003c/em>\u003c/a> newspaper and then at \u003cem>al-Qabas\u003c/em> newspaper.\u003c/p>\n\u003cp>Ali was killed in 1987, shot by unknown assailants outside \u003cem>al-Qabas\u003c/em>‘ office in London.\u003c/p>\n\u003cp>London’s Metropolitan Police reopened the case in 2017, but the murder remains unsolved.\u003c/p>\n\u003ch3>Why Handala continues to be relevant\u003c/h3>\n\u003cp>Handala’s image is popular in street art and graffiti, especially on the \u003ca href=\"https://www.researchgate.net/figure/Matthew-DeMaio-Handala-and-the-Statue-of-Liberty-Bethlehem-Wall-Courtesy-of-the_fig3_273087602\">Israeli-built barrier\u003c/a> that separates Israel from the West Bank.\u003c/p>\n\u003cfigure id=\"attachment_13951632\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1832021163_custom-be0af48d1e51b10b3376a4f77af6daf0b7a3cf40-scaled-e1707237482476.jpg\" alt=\"A young man walks past a graffiti image of a young boy with his back turned.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">A man walks near a mural of Handala in the village of al-Fara, in the occupied West Bank, following an Israeli raid on Dec. 8, 2023. \u003ccite>(Zain Jaafar/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Handala was the perfect embodiment of dispossession,” Sacco says. “Handala became the symbol for the poor and all those [ordinary] Arabs who were being shafted by their own elite, and by the West, and by Israel.”\u003c/p>\n\u003cp>Hafez, the Egyptian columnist who knew Ali, says that Handala remains important in this moment during the war.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Handala is the character that the artist Naji al-Ali has made immortal in the human consciousness,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+is+Handala%2C+the+barefoot%2C+spiky-haired+boy+who+symbolizes+Palestinian+resistance%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Created by cartoonist Naji al-Ali in 1969, Handala is a 10-year-old Palestinian refugee with his back to the world.","status":"publish","parent":0,"modified":1707238453,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":899},"headData":{"title":"Handala, the Palestinian Cartoon by Naji al-Ali, Lives on in Protest | KQED","description":"Created by cartoonist Naji al-Ali in 1969, Handala is a 10-year-old Palestinian refugee with his back to the world.","ogTitle":"Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?","ogDescription":"","ogImgId":"","twTitle":"Who is Handala, the Spiky-Haired Boy Who Symbolizes Palestinian Resistance?","twDescription":"","twImgId":"","socialTitle":"Handala, the Palestinian Cartoon by Naji al-Ali, Lives on in Protest %%page%% %%sep%% KQED"},"sticky":false,"nprImageCredit":"Zain Jaafar","nprByline":"Hadeel Al-Shalchi","nprImageAgency":"AFP via Getty Images","nprStoryId":"1228097975","nprApiLink":"http://api.npr.org/query?id=1228097975&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2024/02/06/1228097975/handala-naji-al-ali-cartoon-palestinian-symbol?ft=nprml&f=1228097975","nprRetrievedStory":"1","nprPubDate":"Tue, 06 Feb 2024 05:00:00 -0500","nprStoryDate":"Tue, 06 Feb 2024 05:00:46 -0500","nprLastModifiedDate":"Tue, 06 Feb 2024 05:00:46 -0500","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","articleAge":"0","path":"/arts/13951631/who-is-handala-the-spiky-haired-boy-who-symbolizes-palestinian-resistance","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>His hair is like a hedgehog, his feet are bare, his clothes are rags and his back is to the world always. His name is Handala.\u003c/p>\n\u003cp>A character created by Palestinian newspaper cartoonist Naji al-Ali in 1969 — two years after the \u003ca href=\"https://www.npr.org/series/10738897/the-six-day-war-40-years-on\">1967 Arab-Israeli war\u003c/a> — the boy known as Handala is a symbol of the Palestinian struggle and resistance to occupation to this day.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13940282","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>As the \u003ca href=\"https://www.kqed.org/news/11972402/san-francisco-becomes-largest-city-in-u-s-to-approve-cease-fire-resolution\">Israel-Hamas war rages on in Gaza\u003c/a>, there has been renewed interest in Handala and what he represents. For instance, a group of artists in Italy recently banded together to create a poster that pays tribute to Handala.\u003c/p>\n\u003cp>An Italian publishing house asked artists to send in their work — with one rule: All the figures had to be drawn with their backs to the reader, like Handala.\u003c/p>\n\u003cp>With the 80 submissions it received, the publishing house created a poster \u003ca href=\"https://www.erisedizioni.org/ebook/Handala-1.pdf\">that is available online\u003c/a> and has been circulating widely on social media over the past few months. There is a monster, a mouse and a two-headed person, all with their backs to the reader.\u003c/p>\n\u003cfigure id=\"attachment_13951634\" class=\"wp-caption aligncenter\" style=\"max-width: 1725px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951634\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg\" alt=\"\" width=\"1725\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-scaled.jpg 1725w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-800x1187.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1020x1514.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-768x1140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1035x1536.jpg 1035w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1380x2048.jpg 1380w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-1-copy_custom-b3d19557c656e6da4a8a48c2098e48d40d4b7271-1920x2849.jpg 1920w\" sizes=\"(max-width: 1725px) 100vw, 1725px\">\u003cfigcaption class=\"wp-caption-text\">In Italy, publishing house Eris Edizioni solicited contributions from artists to reimagine Handala and created a poster. It reads: “Without flags and united for Handala / To ask for an immediate cease-fire.” \u003ccite>(Anna Matilde Sali)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In solidarity, a \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/viewhttps://ssl.form-mailer.jp/fms/1ca67e6f809306\">group of artists in Japan\u003c/a> created \u003ca href=\"https://drive.google.com/file/d/1hwVR8_LzkexwEYaoGTjM_N6nCFkj7hIB/view\">its own poster\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>Here’s a history of who Handala and his creator are.\u003c/p>\n\u003ch3>Who is Handala?\u003c/h3>\n\u003cp>Handala is forever 10 years old — the age that Ali was when his family was forced to move during the mass displacement of Palestinians in 1948 when the state of Israel was formed. Palestinians and their supporters refer to that displacement as the \u003ca href=\"https://www.npr.org/2023/05/15/1176097958/un-nakba-day-explained-anniversary-palestine-israel\">Nakba\u003c/a>, or Arabic for “catastrophe.”\u003c/p>\n\u003cp>Ali’s refugee boy character shares his name with a resilient, bitter plant that grows in the Middle East called \u003cem>handal\u003c/em>. It has deep roots and will always grow back even if it’s weeded out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937170","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>“This character represents insurgency, refusal and struggle,” says Egyptian columnist Nadi Hafez of \u003ca href=\"https://www.alqabas.com/\">\u003cem>al-Qabas\u003c/em> newspaper\u003c/a>, where Ali worked for a long time. “And it satirizes the politics around the Palestinian cause, or the politics of the Arab world, or indeed international politics when it comes to the Palestinian cause.”\u003c/p>\n\u003cp>Handala didn’t turn his back to the reader until 1973, after the Yom Kippur War, when a coalition of Arab countries led by Egypt and Syria fought Israel in October of that year. At the time, there was a push by countries including the U.S. for a settlement of the conflict. By turning Handala’s back to the world, Ali was expressing his rejection of solutions from foreign nations imposed on Palestinians.\u003c/p>\n\u003cp>“The overpowering image is Handala silently watching things going on,” says cartoonist and journalist Joe Sacco, \u003ca href=\"https://www.npr.org/2024/01/18/1225003548/joe-sacco-palestine-gaza-comics-journalism\">author of the graphic novel \u003cem>Palestine\u003c/em>\u003c/a>. “He is silent, but he is observing, and it is clear to the reader that he is knowing, he knows what’s going on. He knows there is hypocrisy.”\u003c/p>\n\u003cfigure id=\"attachment_13951636\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951636\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/handala-scaled-e1707237141692.jpg\" alt=\"Three images. A cartoon of a two figures with their backs turned, one a small boy, one a girl wearing a hijab. A mural of a small boy holding up a large slice of watermelon. A photo of a leg tattoo featuring a small boy with his back turned.\" width=\"1920\" height=\"891\">\u003cfigcaption class=\"wp-caption-text\">Just a few of the Handala interpretations that have been circulating on social media. \u003ccite>((L): Instagram @yesimhotinthis; (C) Roots/ Pali Graffiti Art/ Instagram @bodez.art; (R) Instagram @sensualputty, @malamiastudio, Calle Loiza.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>During times of upheaval between Israel and Palestinians, Ali sometimes showed Handala engaged in activities that signify resistance, like throwing rocks, although there has been criticism of the way he depicted Israeli soldiers.\u003c/p>\n\u003cp>“The rights of resistance are understood, and when that is expressed through Handala, I think that is just a sign of incredible frustration about diplomacy, peace talks that generally lead nowhere,” Sacco says.\u003c/p>\n\u003ch3>Who was Naji al-Ali, Handala’s creator?\u003c/h3>\n\u003cp>Born in 1938 in the Palestinian village of al-Shajara in Galilee in what is now northern Israel, Naji al-Ali drew more than \u003ca href=\"https://www.versobooks.com/blogs/authors/al-ali-naji\">40,000 cartoons\u003c/a> during his career and was equally critical of Israeli and Arab governments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13937219","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Ali was a pan-Arab nationalist and was jailed many times for his anti-government activism.\u003c/p>\n\u003cp>He spent much of his career in Kuwait, where he worked for \u003ca href=\"https://alseyassah.com/\">\u003cem>al-Seyassah\u003c/em>\u003c/a> newspaper and then at \u003cem>al-Qabas\u003c/em> newspaper.\u003c/p>\n\u003cp>Ali was killed in 1987, shot by unknown assailants outside \u003cem>al-Qabas\u003c/em>‘ office in London.\u003c/p>\n\u003cp>London’s Metropolitan Police reopened the case in 2017, but the murder remains unsolved.\u003c/p>\n\u003ch3>Why Handala continues to be relevant\u003c/h3>\n\u003cp>Handala’s image is popular in street art and graffiti, especially on the \u003ca href=\"https://www.researchgate.net/figure/Matthew-DeMaio-Handala-and-the-Statue-of-Liberty-Bethlehem-Wall-Courtesy-of-the_fig3_273087602\">Israeli-built barrier\u003c/a> that separates Israel from the West Bank.\u003c/p>\n\u003cfigure id=\"attachment_13951632\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951632\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1832021163_custom-be0af48d1e51b10b3376a4f77af6daf0b7a3cf40-scaled-e1707237482476.jpg\" alt=\"A young man walks past a graffiti image of a young boy with his back turned.\" width=\"1920\" height=\"1279\">\u003cfigcaption class=\"wp-caption-text\">A man walks near a mural of Handala in the village of al-Fara, in the occupied West Bank, following an Israeli raid on Dec. 8, 2023. \u003ccite>(Zain Jaafar/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Handala was the perfect embodiment of dispossession,” Sacco says. “Handala became the symbol for the poor and all those [ordinary] Arabs who were being shafted by their own elite, and by the West, and by Israel.”\u003c/p>\n\u003cp>Hafez, the Egyptian columnist who knew Ali, says that Handala remains important in this moment during the war.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Handala is the character that the artist Naji al-Ali has made immortal in the human consciousness,” he says.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Who+is+Handala%2C+the+barefoot%2C+spiky-haired+boy+who+symbolizes+Palestinian+resistance%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13951631/who-is-handala-the-spiky-haired-boy-who-symbolizes-palestinian-resistance","authors":["byline_arts_13951631"],"categories":["arts_1","arts_835"],"tags":["arts_8838","arts_903","arts_21682","arts_1756","arts_5375"],"affiliates":["arts_137"],"featImg":"arts_13951633","label":"arts_137"},"arts_13931155":{"type":"posts","id":"arts_13931155","meta":{"index":"posts_1591205157","site":"arts","id":"13931155","score":null,"sort":[1688408855000]},"guestAuthors":[],"slug":"dregs-one-history-of-the-bay-intluniz-mac-mall-keak-da-sneak-midway","title":"Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party","publishDate":1688408855,"format":"aside","headTitle":"Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There aren’t many artists in the Bay Area stitching the fabrics of community more colorfully than rapper, graffiti writer and historian \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a>.\u003c/p>\n\u003cp>The proud San Francisco lyricist and social advocate has undertaken one of the more important preservation projects in recent memory with his podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/history-of-the-bay/id1643362991\">History of the Bay\u003c/a>. The series invites an intergenerational cast of Bay Area personalities — including \u003ca href=\"https://www.youtube.com/watch?v=RuJ-CQU-MJE\">P-Lo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=vkK9dYcLjso\">Rocky Rivera\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike\u003c/a> — to discuss their experiences in Bay Area hip-hop, culture and politics with a laid-back, in-the-know flavor.\u003c/p>\n\u003cp>[aside postID='arts_13931387']Having received attention for \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">archiving largely untold Bay Area rap stories\u003c/a>, Dregs is now expanding his platform to community events with the inaugural \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">History of the Bay Day Party\u003c/a>. From the looks of it, it’ll be a real-life Bay Area Player’s Holiday.\u003c/p>\n\u003cp>In the spirit of connecting the Bay Area’s vast galaxy of hip-hop, the event includes a multitude of guests. Oakland rap legends the Luniz headline the stage, with Keak Da Sneak, Nef the Pharaoh, Mac Mall, San Quinn and Dregs One himself rounding out the afternoon lineup. (Also on stage is a panel on women in Bay Area hip-hop, moderated by KQED’s own Nastia Voynovskaya, an editor for KQED’s Bay Area hip-hop history series \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>.)\u003c/p>\n\u003cp>Beyond music, the day showcases the many subterraneous layers in hip-hop: graffiti artists (featuring a real-time mural painted by \u003ca href=\"https://www.youtube.com/watch?v=KyHVKCClBBo\">Crayone\u003c/a>); disc jockeys (with DJ sets from Juice, Sean G and \u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">Family Not A Group’s Jenset\u003c/a>); and traditionally unheard voices (CMG from the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a> discuss their roles as women making waves in the scene). Throw into the mix food, ice cream from Mitchell’s, a live podcast recording, and vendors such as Derby of San Francisco and \u003ca href=\"https://www.dyingbreedsf.com/\">Dying Breed\u003c/a> purveying wildly localized merch — think Starters-esque windbreaker jackets with “FRI$CO” and “415” stitched onto them — and you’ve got a full-on function.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13923938,arts_13931108']With this summer marking the \u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">50th anniversary of hip-hop\u003c/a>, it’s a more fitting time than ever for Dregs One to champion the musical genre and cultural lifestyle in block-party fashion. At its core, hip-hop is — and will hopefully always be — an empowering intersection for jubilant expression, self-love, knowledge and the occasional thizz dance in a space filled with other hip-hop heads who, like anyone, want to be seen and appreciated. There’s no better moment to tap in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The History of the Bay Day Party gets underway Sunday, July 9, at 2 p.m. at The Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">‘History of the Bay’ podcast\u003c/a> airs regularly with periodic live recordings at Amoeba Music in San Francisco. Abbreviated versions can be seen on \u003ca href=\"https://www.tiktok.com/@dregs_one\">Dregs One’s TikTok\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Performances by the Luniz, Keak Da Sneak, Mac Mall and others celebrate the Bay Area's contributions to hip-hop.\r\n","status":"publish","parent":0,"modified":1705005318,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":523},"headData":{"title":"Dregs One Turns ‘History of the Bay’ Into an Epic San Francisco Day Party | KQED","description":"Performances by the Luniz, Keak Da Sneak, Mac Mall and others celebrate the Bay Area's contributions to hip-hop.\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"WpOldSlug":"dregs-one-turns-history-of-the-bay-into-an-epic-san-francisco-day-party","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13931155/dregs-one-history-of-the-bay-intluniz-mac-mall-keak-da-sneak-midway","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"mceTemp\">\u003c/div>\n\u003cfigure id=\"attachment_13931462\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13931462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/07/dsc06369_720.jpg\" alt=\"People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease.\" width=\"720\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/07/dsc06369_720-160x107.jpg 160w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">People handed Dregs-One rolling trays, hats and other miscellaneous items for him to freestyle about, and he did so with ease. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There aren’t many artists in the Bay Area stitching the fabrics of community more colorfully than rapper, graffiti writer and historian \u003ca href=\"https://www.instagram.com/dregs_one/?hl=en\">Dregs One\u003c/a>.\u003c/p>\n\u003cp>The proud San Francisco lyricist and social advocate has undertaken one of the more important preservation projects in recent memory with his podcast \u003ca href=\"https://podcasts.apple.com/us/podcast/history-of-the-bay/id1643362991\">History of the Bay\u003c/a>. The series invites an intergenerational cast of Bay Area personalities — including \u003ca href=\"https://www.youtube.com/watch?v=RuJ-CQU-MJE\">P-Lo\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=vkK9dYcLjso\">Rocky Rivera\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13925761/magic-mike-richmond-calvin-t-rap-hip-hop\">Magic Mike\u003c/a> — to discuss their experiences in Bay Area hip-hop, culture and politics with a laid-back, in-the-know flavor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13931387","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Having received attention for \u003ca href=\"https://www.kqed.org/arts/13916721/sucka-free-history-with-dregs-one\">archiving largely untold Bay Area rap stories\u003c/a>, Dregs is now expanding his platform to community events with the inaugural \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">History of the Bay Day Party\u003c/a>. From the looks of it, it’ll be a real-life Bay Area Player’s Holiday.\u003c/p>\n\u003cp>In the spirit of connecting the Bay Area’s vast galaxy of hip-hop, the event includes a multitude of guests. Oakland rap legends the Luniz headline the stage, with Keak Da Sneak, Nef the Pharaoh, Mac Mall, San Quinn and Dregs One himself rounding out the afternoon lineup. (Also on stage is a panel on women in Bay Area hip-hop, moderated by KQED’s own Nastia Voynovskaya, an editor for KQED’s Bay Area hip-hop history series \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>.)\u003c/p>\n\u003cp>Beyond music, the day showcases the many subterraneous layers in hip-hop: graffiti artists (featuring a real-time mural painted by \u003ca href=\"https://www.youtube.com/watch?v=KyHVKCClBBo\">Crayone\u003c/a>); disc jockeys (with DJ sets from Juice, Sean G and \u003ca href=\"https://www.kqed.org/arts/13910221/family-not-a-group-san-francisco-rap\">Family Not A Group’s Jenset\u003c/a>); and traditionally unheard voices (CMG from the \u003ca href=\"https://www.kqed.org/arts/13925177/the-conscious-daughters-raps-sucka-free-thelma-and-louise-rewrote-the-rules\">Conscious Daughters\u003c/a> and \u003ca href=\"https://www.instagram.com/isawdray/?hl=en\">D-Ray\u003c/a> discuss their roles as women making waves in the scene). Throw into the mix food, ice cream from Mitchell’s, a live podcast recording, and vendors such as Derby of San Francisco and \u003ca href=\"https://www.dyingbreedsf.com/\">Dying Breed\u003c/a> purveying wildly localized merch — think Starters-esque windbreaker jackets with “FRI$CO” and “415” stitched onto them — and you’ve got a full-on function.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923938,arts_13931108","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>With this summer marking the \u003ca href=\"https://www.kqed.org/arts/13923938/thats-my-word-intro\">50th anniversary of hip-hop\u003c/a>, it’s a more fitting time than ever for Dregs One to champion the musical genre and cultural lifestyle in block-party fashion. At its core, hip-hop is — and will hopefully always be — an empowering intersection for jubilant expression, self-love, knowledge and the occasional thizz dance in a space filled with other hip-hop heads who, like anyone, want to be seen and appreciated. There’s no better moment to tap in.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>The History of the Bay Day Party gets underway Sunday, July 9, at 2 p.m. at The Midway in San Francisco. \u003ca href=\"https://www.tixr.com/groups/midwaysf/events/derby-of-san-francisco-presents-history-of-the-bay-with-luniz-dregs-one-more-71892\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003ca href=\"https://www.youtube.com/playlist?list=PLrcnRVZo1Y9S-8xIlv8knxRcYwCqsu1OC\">‘History of the Bay’ podcast\u003c/a> airs regularly with periodic live recordings at Amoeba Music in San Francisco. Abbreviated versions can be seen on \u003ca href=\"https://www.tiktok.com/@dregs_one\">Dregs One’s TikTok\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13931155/dregs-one-history-of-the-bay-intluniz-mac-mall-keak-da-sneak-midway","authors":["11748"],"programs":["arts_140"],"categories":["arts_1","arts_835","arts_69"],"tags":["arts_8505","arts_20453","arts_19561","arts_10278","arts_903","arts_831","arts_21047","arts_2173","arts_6299","arts_19496","arts_4219","arts_1146","arts_14114","arts_585"],"featImg":"arts_13931462","label":"arts_140"},"arts_13929183":{"type":"posts","id":"arts_13929183","meta":{"index":"posts_1591205157","site":"arts","id":"13929183","score":null,"sort":[1684339247000]},"guestAuthors":[],"slug":"at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art","title":"At the Bay Area Hip-Hop Archives, Leaving a Legacy is an Art","publishDate":1684339247,"format":"standard","headTitle":"At the Bay Area Hip-Hop Archives, Leaving a Legacy is an Art | KQED","labelTerm":{},"content":"\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>The uneven power dynamics in hip-hop — and the music industry in general — are no secret: Mostly white executives enrich themselves from Black ingenuity, invest in the salacious and the sensational, and ignore the true diversity of the culture. That’s why, on a January Zoom call with the inaugural inductee class of the \u003ca href=\"https://microphonemechanics.com/bay-area-hip-hop-archives\">Bay Area Hip-Hop Archives\u003c/a>, Jahi implored: “Don’t leave your legacy to chance.”\u003c/p>\n\u003cp>Those in the virtual room included well-known figures like \u003ca href=\"https://www.instagram.com/suga_t_/\">Suga T\u003c/a> and \u003ca href=\"https://djdsharp.co/\">DJ D Sharp\u003c/a> of the Golden State Warriors. There was also \u003ca href=\"https://thembisamshaka.com/\">Thembisa Mshaka\u003c/a>, former editor of the influential industry magazine \u003ci>Gavin Report\u003c/i>; Helen Warren, mother of the late, great turntablist Pam the Funkstress; Black Panther-descended aerosol artist \u003ca href=\"http://www.refa1.com/\">Refa One\u003c/a>; rapper-turned-elementary educator \u003ca href=\"https://mysticworldwide.com/\">Mystic\u003c/a>; and others connected to hip-hop’s revolutionary core, who’ve helped build the culture in the Bay from the ground up. [aside postid='arts_13927349']\u003c/p>\n\u003cp>For archive curator Jahi, the time is right to preserve the Bay Area’s impact on hip-hop culture, which celebrates its 50th anniversary on Aug. 11, the day of \u003ca href=\"https://www.theguardian.com/music/2011/jun/13/dj-kool-herc-block-party\">DJ Kool Herc’s fateful 1973 Bronx block party\u003c/a>. Not to mention that, in recent years, the Bay Area has seen the untimely passing of numerous hip-hop greats in their 40s and 50s. The loss of \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam the Funkstress\u003c/a>, Digital Underground frontman \u003ca href=\"https://www.kqed.org/arts/13896288/remembering-shock-g-the-funky-digital-underground-frontman-who-shaped-oakland-rap\">Shock G\u003c/a>, Zion I’s \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">Zumbi\u003c/a> and Blackalicious’ \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\">Gift of Gab\u003c/a> sent shockwaves of grief throughout the Bay Area. For Jahi’s generation, time is precious, and the creators of the culture feel an imperative to leave a record for posterity.\u003c/p>\n\u003cp>“When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop,” says Jahi with reverence. “And in 50 years, look what we’ve created.”\u003c/p>\n\u003cfigure id=\"attachment_13929194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg\" alt=\"Jahi wears a fedora and black suit while giving a speech on stage. \" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1.jpg 935w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Hip-Hop Archives curator Jahi had a successful career as an MC before foraying into exhibitions, theater and legacy work. \u003ccite>(Courtesy of Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, hip-hop is now a multi-billion dollar industry with influence on Wall Street, the \u003ca href=\"https://www.paris2024.org/en/sport/breaking/\">2024 Olympics\u003c/a> and beyond. But it still remains a Black, working-class, grassroots culture that empowers, heals and politically mobilizes, an aspect that was front of mind for Jahi as he planned the archive, which is housed at the \u003ca href=\"https://oaklandlibrary.org/aamlo/\">African American Museum and Library at Oakland\u003c/a> (AAMLO).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since inducting the first Bay Area Hip-Hop Archives class of 15 honorees during Black History Month, Jahi has gathered 1,000 artifacts and counting from their personal collections, some of which will be on view at AAMLO’s Aug. 11 block party celebrating hip-hop’s 50th anniversary, with another viewing to come in February 2024. Concert flyers, setlists, photos, audio and video interviews are getting the “white-glove” museum treatment for future fans, artists and scholars to explore. Jahi is also hosting a \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator Night\u003c/a> with music and discussion at AAMLO on May 19, and is gearing up to announce the next 40 honorees on Juneteenth next month. [pullquote size='large' citation='Jahi, Bay Area Hip-Hop Archives curator']‘When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop. And in 50 years, look what we’ve created.’[/pullquote]\u003c/p>\n\u003cp>To create the archive, Jahi sought out a partnership with a Black-led institution, and he found the right collaborator in AAMLO and its Chief Curator Bamidele Agbasegbe-Demerson. Prior to the Bay Area Hip-Hop Archives’ launch, AAMLO already had close to 12,000 artifacts and documents chronicling Black life in Northern California, from the Gold Rush to the Black Panther Party. “So we’re joining their community,” Jahi says. “And when we’re done, we’ll probably have about ten or 12,000 pieces from the Bay Area Hip-Hop Archives. It’s a level up — in terms of preservation, protection and, most importantly, the opportunity for artists to tell their story in their own voices so they are not erased.”\u003c/p>\n\u003cp>Beyond artists, the Bay Area Hip-Hop Archives honors people who’ve played a crucial role in facilitating the local scene, such as promoter \u003ca href=\"https://ankhmarketing.com/\">Ankh Marketing\u003c/a>, which has produced community events and big-name concerts with Goapele and Erykah Badu alike, and \u003ca href=\"https://youtu.be/lkadOO6UuR0\">the Upper Room\u003c/a>, a substance-free gathering space for the San Francisco spoken word and alternative hip-hop scenes of the ’90s. Other inductees include MC and queer party producer \u003ca href=\"https://www.instagram.com/aimathedrmr/?hl=en\">Aima the Dreamer\u003c/a>; journalist, scholar and DJ \u003ca href=\"https://daveyd.com/\">Davey D\u003c/a> (who serves as an advisor on KQED’s \u003cem>That’s My Word\u003c/em>); dance historian and photographer \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>; \u003ca href=\"https://www.instagram.com/realdjkevykev/?hl=en\">DJ Kevy Kev\u003c/a>; the “Black Panther of hip-hop,” \u003ca href=\"https://www.guerrillafunk.com/paris\">Paris\u003c/a>; poet and educator \u003ca href=\"https://www.instagram.com/mrdavis510/?hl=en\">Hodari Davis\u003c/a>; and \u003ca href=\"https://www.instagram.com/phestohierosoul/?hl=en\">Phesto Dee\u003c/a> of Souls of Mischief.\u003c/p>\n\u003cp>https://youtu.be/uMqQgf__apQ\u003c/p>\n\u003cp>Jahi himself comes from the activist, alternative corner of hip-hop — what he refers to as the “socially conscious, mostly profanity-free, life-affirming lane.” He’s called Oakland home for 24 years, but he grew up DJing and freestyling in East Cleveland in the early ’80s. It was a turbulent time in American history, with the crack epidemic and rise of mass incarceration, and hip-hop offered him a sense of belonging and an artistic outlet. “All the rappers had perfect attendance, because we was always at school 30 minutes before school opened so we could battle,” says Jahi.\u003c/p>\n\u003cp>Jahi’s path into music was somewhat unconventional: He had a successful career at an educational nonprofit before embarking on a professional music career at 28 years old, in the late ’90s. Public Enemy’s Chuck D and KRS One gave him some of his first big opportunities, which led to a major-label album and a successful stint in Europe. He later founded the production company Microphone Mechanics, which has been his springboard into museum exhibitions, theater and, now, the archives.\u003c/p>\n\u003cp>Jahi has an inclusive vision of hip-hop, and isn’t about creating a dichotomy of street-versus-conscious, mainstream-versus-underground — nor is he into shaming or excluding practitioners of the art form who are different from him. Instead, he wants to celebrate the many styles and philosophies, the collective efforts, that have made the culture such a potent form of expression. “Hip-hop is a house with many rooms, and we’ve been in the sex, drugs, violence, pimp, hustler room,” he says. “It’s not the whole house.”\u003c/p>\n\u003cp>At the unveiling of the Bay Area Hip-Hop Archives in February, artists spoke of unity and pride. “We built this community,” said Mystic. “We built this when we had no models. We created magazines, we produced albums, we threw events. We created what the dream needed to be, and it was grounded in the radically loving and socially political foundation that is Oakland.” [aside postid='arts_13906176']\u003c/p>\n\u003cp>“Everybody likes to make us believe, especially as Black people, that our history is kind of happenstance. You know, Martin just kind of wrote a speech, and Malcolm just showed up,” said Davey D. “And that makes for a good story, it makes it sound like these individuals were superhuman, when in fact they put in a lot of work. They were very intentional, they were in the pocket, they thought about things. Even in hip-hop.”\u003c/p>\n\u003cp>As the mic was passed around, other inductees spoke of their hopes for the next 50 years of hip-hop culture as calls of “ashe” resounded throughout AAMLO’s high-ceilinged, marbled halls. “For the level of murder and violence that exists in our streets, what are we saying with this culture?” asked Refa One. “Is it more healing and food, or is it toxic? Because it could be either one. … It could be a weapon to liberate us, or one to put our people down. … It’s got to have that knowledge element. That fifth element is key.” [aside postid='arts_13923978']\u003c/p>\n\u003cp>For his part, Jahi has ambitious plans to invest in that fifth element. After the next group of Bay Area Hip-Hop Archives inductees are announced on Juneteenth, he’s planning on hosting Friday nights at OMCA throughout the month of August, curating talks, performances and screenings for hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>DJ Kool Herc’s foundational 1973 party was a back-to-school event. So in that spirit, AAMLO’s Aug. 11 block party will be a family-friendly affair hosted by \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#home-turf-premieres-on-kron-tv\">Dominique DiPrima\u003c/a>, with school supply giveaways, music by DJs Davey D, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black\u003c/a> and True Justice and an appearance from 12-year-old race car driver Cam-Man Races. The second class of the Archives will be formally inducted, and select items from the collections will be on view, with more to come next year.\u003c/p>\n\u003cp>And, of course, Jahi is busy documenting items and stories for the Bay Area Hip-Hop Archives, which he anticipates will be fully up and running in person and online in two to five years. He’s moving with intention, and already coming up with a succession plan and fundraising structure to keep the archives sustainable for generations to come.\u003c/p>\n\u003cp>“So a Black child that looks like me, that comes from the hood, can know that without anything other than sheer determination, you can make something happen,” Jahi says. “That’s what this legacy work is also about.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Upcoming Events\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bay Area Hip-Hop Archives’ \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator night\u003c/a> takes place at the African American Museum and Library at Oakland on May 19, 5-7 p.m.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jahi curates \u003ca href=\"https://museumca.org/about-friday-nights-at-omca-with-off-the-grid/?utm_campaign=OMCA+friday&utm_source=g&utm_medium=g&utm_campaignid=17402932715&utm_adgroupid=143053530931&utm_adid=601813286558&utm_placement=g&utm_agency=gupta&gclid=CjwKCAjw04yjBhApEiwAJcvNoeLJe-Tq8pu1hXdxKKrMNMwIdyAT1TnduoOrcc2dy-Osklytg0t1rhoCP3QQAvD_BwE\">Friday Nights at the Oakland Museum of California\u003c/a> throughout the month of August. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features DJ sets by Jahi and Davey D, a meet-and-greet with race-car driver Cameron “Cam-Man” Carraway, a turfing dance class with Telice and an induction ceremony for the Bay Area Hip-Hop Archives. Destiny Muhammad plays Bay Area hip-hop on jazz harp on Aug. 18; and programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beatmaking activities led by Seti X of June Jordan School for Equity. KQED’s \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">If Cities Could Dance\u003c/a> series will screen on Aug. 4 and 11, and our video podcast \u003ca href=\"https://www.kqed.org/whatspimpin\">What’s Pimpin’?\u003c/a> screens on Aug. 18 and 25. \u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Housed at AAMLO, the archive gears up for its next inductee class — and a summer of musical events.","status":"publish","parent":0,"modified":1705005491,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":25,"wordCount":1826},"headData":{"title":"At the Bay Area Hip-Hop Archives, Leaving a Legacy is an Art | KQED","description":"Housed at AAMLO, the archive gears up for its next inductee class — and a summer of musical events.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"source":"That's My Word","sourceUrl":"/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>The uneven power dynamics in hip-hop — and the music industry in general — are no secret: Mostly white executives enrich themselves from Black ingenuity, invest in the salacious and the sensational, and ignore the true diversity of the culture. That’s why, on a January Zoom call with the inaugural inductee class of the \u003ca href=\"https://microphonemechanics.com/bay-area-hip-hop-archives\">Bay Area Hip-Hop Archives\u003c/a>, Jahi implored: “Don’t leave your legacy to chance.”\u003c/p>\n\u003cp>Those in the virtual room included well-known figures like \u003ca href=\"https://www.instagram.com/suga_t_/\">Suga T\u003c/a> and \u003ca href=\"https://djdsharp.co/\">DJ D Sharp\u003c/a> of the Golden State Warriors. There was also \u003ca href=\"https://thembisamshaka.com/\">Thembisa Mshaka\u003c/a>, former editor of the influential industry magazine \u003ci>Gavin Report\u003c/i>; Helen Warren, mother of the late, great turntablist Pam the Funkstress; Black Panther-descended aerosol artist \u003ca href=\"http://www.refa1.com/\">Refa One\u003c/a>; rapper-turned-elementary educator \u003ca href=\"https://mysticworldwide.com/\">Mystic\u003c/a>; and others connected to hip-hop’s revolutionary core, who’ve helped build the culture in the Bay from the ground up. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13927349","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For archive curator Jahi, the time is right to preserve the Bay Area’s impact on hip-hop culture, which celebrates its 50th anniversary on Aug. 11, the day of \u003ca href=\"https://www.theguardian.com/music/2011/jun/13/dj-kool-herc-block-party\">DJ Kool Herc’s fateful 1973 Bronx block party\u003c/a>. Not to mention that, in recent years, the Bay Area has seen the untimely passing of numerous hip-hop greats in their 40s and 50s. The loss of \u003ca href=\"https://www.kqed.org/arts/13818092/pam-the-funkstress-pioneering-bay-area-dj-passes-away\">Pam the Funkstress\u003c/a>, Digital Underground frontman \u003ca href=\"https://www.kqed.org/arts/13896288/remembering-shock-g-the-funky-digital-underground-frontman-who-shaped-oakland-rap\">Shock G\u003c/a>, Zion I’s \u003ca href=\"https://www.kqed.org/arts/13920198/zumbi-zion-i-improper-restraint-at-hospital\">Zumbi\u003c/a> and Blackalicious’ \u003ca href=\"https://www.kqed.org/arts/13899378/blackalicious-gift-of-gab-a-celebrated-mc-dies-at-age-50\">Gift of Gab\u003c/a> sent shockwaves of grief throughout the Bay Area. For Jahi’s generation, time is precious, and the creators of the culture feel an imperative to leave a record for posterity.\u003c/p>\n\u003cp>“When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop,” says Jahi with reverence. “And in 50 years, look what we’ve created.”\u003c/p>\n\u003cfigure id=\"attachment_13929194\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13929194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg\" alt=\"Jahi wears a fedora and black suit while giving a speech on stage. \" width=\"800\" height=\"1028\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Jahi-photo-1.jpg 935w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area Hip-Hop Archives curator Jahi had a successful career as an MC before foraying into exhibitions, theater and legacy work. \u003ccite>(Courtesy of Jahi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Indeed, hip-hop is now a multi-billion dollar industry with influence on Wall Street, the \u003ca href=\"https://www.paris2024.org/en/sport/breaking/\">2024 Olympics\u003c/a> and beyond. But it still remains a Black, working-class, grassroots culture that empowers, heals and politically mobilizes, an aspect that was front of mind for Jahi as he planned the archive, which is housed at the \u003ca href=\"https://oaklandlibrary.org/aamlo/\">African American Museum and Library at Oakland\u003c/a> (AAMLO).\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>Since inducting the first Bay Area Hip-Hop Archives class of 15 honorees during Black History Month, Jahi has gathered 1,000 artifacts and counting from their personal collections, some of which will be on view at AAMLO’s Aug. 11 block party celebrating hip-hop’s 50th anniversary, with another viewing to come in February 2024. Concert flyers, setlists, photos, audio and video interviews are getting the “white-glove” museum treatment for future fans, artists and scholars to explore. Jahi is also hosting a \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator Night\u003c/a> with music and discussion at AAMLO on May 19, and is gearing up to announce the next 40 honorees on Juneteenth next month. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘When you think about ancient Egypt and other societies, their cultures took dynasties to grow and develop. And in 50 years, look what we’ve created.’","name":"pullquote","attributes":{"named":{"size":"large","citation":"Jahi, Bay Area Hip-Hop Archives curator","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To create the archive, Jahi sought out a partnership with a Black-led institution, and he found the right collaborator in AAMLO and its Chief Curator Bamidele Agbasegbe-Demerson. Prior to the Bay Area Hip-Hop Archives’ launch, AAMLO already had close to 12,000 artifacts and documents chronicling Black life in Northern California, from the Gold Rush to the Black Panther Party. “So we’re joining their community,” Jahi says. “And when we’re done, we’ll probably have about ten or 12,000 pieces from the Bay Area Hip-Hop Archives. It’s a level up — in terms of preservation, protection and, most importantly, the opportunity for artists to tell their story in their own voices so they are not erased.”\u003c/p>\n\u003cp>Beyond artists, the Bay Area Hip-Hop Archives honors people who’ve played a crucial role in facilitating the local scene, such as promoter \u003ca href=\"https://ankhmarketing.com/\">Ankh Marketing\u003c/a>, which has produced community events and big-name concerts with Goapele and Erykah Badu alike, and \u003ca href=\"https://youtu.be/lkadOO6UuR0\">the Upper Room\u003c/a>, a substance-free gathering space for the San Francisco spoken word and alternative hip-hop scenes of the ’90s. Other inductees include MC and queer party producer \u003ca href=\"https://www.instagram.com/aimathedrmr/?hl=en\">Aima the Dreamer\u003c/a>; journalist, scholar and DJ \u003ca href=\"https://daveyd.com/\">Davey D\u003c/a> (who serves as an advisor on KQED’s \u003cem>That’s My Word\u003c/em>); dance historian and photographer \u003ca href=\"http://www.iamtracibartlow.com/\">Traci Bartlow\u003c/a>; \u003ca href=\"https://www.instagram.com/realdjkevykev/?hl=en\">DJ Kevy Kev\u003c/a>; the “Black Panther of hip-hop,” \u003ca href=\"https://www.guerrillafunk.com/paris\">Paris\u003c/a>; poet and educator \u003ca href=\"https://www.instagram.com/mrdavis510/?hl=en\">Hodari Davis\u003c/a>; and \u003ca href=\"https://www.instagram.com/phestohierosoul/?hl=en\">Phesto Dee\u003c/a> of Souls of Mischief.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/uMqQgf__apQ'\n title='//www.youtube.com/embed/uMqQgf__apQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jahi himself comes from the activist, alternative corner of hip-hop — what he refers to as the “socially conscious, mostly profanity-free, life-affirming lane.” He’s called Oakland home for 24 years, but he grew up DJing and freestyling in East Cleveland in the early ’80s. It was a turbulent time in American history, with the crack epidemic and rise of mass incarceration, and hip-hop offered him a sense of belonging and an artistic outlet. “All the rappers had perfect attendance, because we was always at school 30 minutes before school opened so we could battle,” says Jahi.\u003c/p>\n\u003cp>Jahi’s path into music was somewhat unconventional: He had a successful career at an educational nonprofit before embarking on a professional music career at 28 years old, in the late ’90s. Public Enemy’s Chuck D and KRS One gave him some of his first big opportunities, which led to a major-label album and a successful stint in Europe. He later founded the production company Microphone Mechanics, which has been his springboard into museum exhibitions, theater and, now, the archives.\u003c/p>\n\u003cp>Jahi has an inclusive vision of hip-hop, and isn’t about creating a dichotomy of street-versus-conscious, mainstream-versus-underground — nor is he into shaming or excluding practitioners of the art form who are different from him. Instead, he wants to celebrate the many styles and philosophies, the collective efforts, that have made the culture such a potent form of expression. “Hip-hop is a house with many rooms, and we’ve been in the sex, drugs, violence, pimp, hustler room,” he says. “It’s not the whole house.”\u003c/p>\n\u003cp>At the unveiling of the Bay Area Hip-Hop Archives in February, artists spoke of unity and pride. “We built this community,” said Mystic. “We built this when we had no models. We created magazines, we produced albums, we threw events. We created what the dream needed to be, and it was grounded in the radically loving and socially political foundation that is Oakland.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13906176","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Everybody likes to make us believe, especially as Black people, that our history is kind of happenstance. You know, Martin just kind of wrote a speech, and Malcolm just showed up,” said Davey D. “And that makes for a good story, it makes it sound like these individuals were superhuman, when in fact they put in a lot of work. They were very intentional, they were in the pocket, they thought about things. Even in hip-hop.”\u003c/p>\n\u003cp>As the mic was passed around, other inductees spoke of their hopes for the next 50 years of hip-hop culture as calls of “ashe” resounded throughout AAMLO’s high-ceilinged, marbled halls. “For the level of murder and violence that exists in our streets, what are we saying with this culture?” asked Refa One. “Is it more healing and food, or is it toxic? Because it could be either one. … It could be a weapon to liberate us, or one to put our people down. … It’s got to have that knowledge element. That fifth element is key.” \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13923978","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For his part, Jahi has ambitious plans to invest in that fifth element. After the next group of Bay Area Hip-Hop Archives inductees are announced on Juneteenth, he’s planning on hosting Friday nights at OMCA throughout the month of August, curating talks, performances and screenings for hip-hop’s 50th anniversary.\u003c/p>\n\u003cp>DJ Kool Herc’s foundational 1973 party was a back-to-school event. So in that spirit, AAMLO’s Aug. 11 block party will be a family-friendly affair hosted by \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#home-turf-premieres-on-kron-tv\">Dominique DiPrima\u003c/a>, with school supply giveaways, music by DJs Davey D, \u003ca href=\"https://www.kqed.org/arts/13915614/black-the-bay-areas-mother-of-djs-is-getting-the-recognition-she-deserves\">Black\u003c/a> and True Justice and an appearance from 12-year-old race car driver Cam-Man Races. The second class of the Archives will be formally inducted, and select items from the collections will be on view, with more to come next year.\u003c/p>\n\u003cp>And, of course, Jahi is busy documenting items and stories for the Bay Area Hip-Hop Archives, which he anticipates will be fully up and running in person and online in two to five years. He’s moving with intention, and already coming up with a succession plan and fundraising structure to keep the archives sustainable for generations to come.\u003c/p>\n\u003cp>“So a Black child that looks like me, that comes from the hood, can know that without anything other than sheer determination, you can make something happen,” Jahi says. “That’s what this legacy work is also about.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Upcoming Events\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Bay Area Hip-Hop Archives’ \u003ca href=\"https://www.instagram.com/p/Cryc31GpDH6/?igshid=MzRlODBiNWFlZA%3D%3D\">Meet the Curator night\u003c/a> takes place at the African American Museum and Library at Oakland on May 19, 5-7 p.m.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jahi curates \u003ca href=\"https://museumca.org/about-friday-nights-at-omca-with-off-the-grid/?utm_campaign=OMCA+friday&utm_source=g&utm_medium=g&utm_campaignid=17402932715&utm_adgroupid=143053530931&utm_adid=601813286558&utm_placement=g&utm_agency=gupta&gclid=CjwKCAjw04yjBhApEiwAJcvNoeLJe-Tq8pu1hXdxKKrMNMwIdyAT1TnduoOrcc2dy-Osklytg0t1rhoCP3QQAvD_BwE\">Friday Nights at the Oakland Museum of California\u003c/a> throughout the month of August. Diamano Coura West African Dance Company performs on Aug. 4; Aug. 11 features DJ sets by Jahi and Davey D, a meet-and-greet with race-car driver Cameron “Cam-Man” Carraway, a turfing dance class with Telice and an induction ceremony for the Bay Area Hip-Hop Archives. Destiny Muhammad plays Bay Area hip-hop on jazz harp on Aug. 18; and programming concludes Aug. 25 with an evening of aerosol art with Refa One and hands-on beatmaking activities led by Seti X of June Jordan School for Equity. KQED’s \u003ca href=\"https://www.kqed.org/if-cities-could-dance\">If Cities Could Dance\u003c/a> series will screen on Aug. 4 and 11, and our video podcast \u003ca href=\"https://www.kqed.org/whatspimpin\">What’s Pimpin’?\u003c/a> screens on Aug. 18 and 25. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13929183/at-the-bay-area-hip-hop-archives-leaving-a-legacy-is-an-art","authors":["11387"],"categories":["arts_1","arts_69"],"tags":["arts_8505","arts_7711","arts_10342","arts_10278","arts_903","arts_831","arts_3477","arts_1143","arts_19347"],"featImg":"arts_13929202","label":"source_arts_13929183"},"arts_13928948":{"type":"posts","id":"arts_13928948","meta":{"index":"posts_1591205157","site":"arts","id":"13928948","score":null,"sort":[1683820845000]},"guestAuthors":[],"slug":"brett-cook-reflects-on-30-years-of-socially-conscious-art","title":"Brett Cook Reflects on 30 Years of Socially Conscious Art","publishDate":1683820845,"format":"standard","headTitle":"Brett Cook Reflects on 30 Years of Socially Conscious Art | KQED","labelTerm":{},"content":"\u003cp>One of the highlights of \u003cem>Reflection & Action\u003c/em>, Brett Cook’s career-spanning exhibit at Yerba Buena Center for the Arts (with choreographer Liz Leman) seeks to make poignant, emotionally-resonant art out of unthinkable tragedy.\u003c/p>\n\u003cp>“The Black (W)hole” is an installation of six “Young Ghosts” — people of color from Oakland, all killed before their 32nd birthdays. Cook fashioned ancestor altars for the six subjects – Alex Goodwin Jr., Sahleem Tindle, Sultan Bey, Vernon Eddins Jr., Victor McElhaney, and Yasmeen Vaughan – using oil paint, mirrored plexiglass, wood, dye-infused metal prints, artificial flowers, and string lights. The choice of a mirrored surface is especially appropriate, as viewers can gaze deeply into the portal-like portraits and see their own reflections. \u003c/p>\n\u003cp>The portraits, adorned with photographs of their subjects from various stages of their brief lives, effectively serve as bridges to the spirit world, and reminders that urban youth of today often face greater trauma than their parents once did. These six Black lives mattered. Honoring their lives is an opportunity to lift up community health by naming them and acknowledging their existence. Some of us knew these six young people. Many of us know people just like them, who were taken too soon. While grief is unavoidable in these situations, there is solace to be found in Cook’s art, which celebrates these unfortunate martyrs while issuing a subliminal call to end the violence on our streets that kills our youth. \u003c/p>\n\u003cfigure id=\"attachment_13928966\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.victor-1020x801.jpg\" alt=\"\" width=\"640\" height=\"503\" class=\"size-large wp-image-13928966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-1020x801.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-1536x1206.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brett Cook’s portrait of Victor McElhaney, as part of the ‘The Black (W)hole.’ \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That the installation serves its intended function was confirmed by a recent visit to the YBCA gallery, where Lynette McElhaney, Victor’s mother and a former Oakland city councilmember, was observed communing with her son’s portrait. McElhaney’s suffering has been the most public of all the Young Ghosts’ mothers; it’s entirely ironic that the founder of Oakland’s Department of Violence Prevention was later personally impacted by violence. She will never be the same again. But on this Thursday afternoon, in a nearly-empty gallery, she appears to be having a therapeutic experience, staring into Victor’s portrait and thinking unspoken words. The installation won’t bring her son back. But it allows her to interact with his image in a deeply spiritual way. \u003c/p>\n\u003cp>Cook’s artistic practice over the past 30-something years has frequently attained these elevated levels of poignance. His journey of creative expression began with a cultural identification with hip-hop, and an attraction to graffiti. Cook went from being a tagger to a piecer, and then a muralist, portraitist and multimedia creator, mastering each step along the way. His art has been intertwined with his work in education, which has added pedagogy, often of a radical nature, to his toolkit. And though he’s exhibited in Europe, completed projects in Mexico, and been part of an avant-garde New York loft scene during the late ’90s and early 2000s, much of his formative years as an artist-educator were shaped by his time in the Bay Area of the early ’80s through mid-’90s. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When I started painting on walls, there was no hip-hop section at the record store,” Cook remembers, though hip-hop was already an extension of his cultural existence. “I was a popper. I was a writer. I wrote rhymes. And because I could draw good, I started painting on walls. I was painting in San Diego before Beat Street, before Sprite commercials with beats in them. And so there wasn’t even that traditional apprenticeship program, to kind of scaffold what I thought graffiti or hip-hop was supposed to be. It was really just a cultural expression of myself.” \u003c/p>\n\u003cfigure id=\"attachment_13928965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Crayon-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13928965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon.jpg 1089w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Crayon,’ spray enamel on masonry (non-permissional\u003cbr>work), Psycho City, Market and Franklin Streets, San Francisco, 1988. \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Coming of age in hip-hop\u003c/h2>\n\u003cp>Cook arrived in the Bay Area as a young UC Berkeley undergrad in 1986 – a time when local hip-hop and the graffiti subculture were both in formative stages. During the late ’80s, “there were comic book stores all over Telegraph (Avenue in Berkeley), and people were tagging all around. You could tell what a writer looked like, and you’re still stealing caps from spray fixative shops, from the art stores. For me, that was the burgeoning of the golden age of graffiti here in the Bay.”\u003c/p>\n\u003cp>[aside postID='arts_13926619']Cook studied art classes as an undergrad. But he also got an education in Hip-Hop Community 101. His neighbor in the UC Berkeley dorms was Ben “Beni B” Nickleberry – a hip-hop DJ who would mix records on turntables in his dorm room, whose KALX-FM show featured some of the earliest appearances by Digital Underground, and who would go on to become a founding member of the Bay Area Hip-Hop Coalition and the force behind indie hip-hop label ABB Records. Cook also soon met Dave “Davey D” Cook (no relation), who would go from KALX DJ to KMEL on-air personality to KPFA public affairs host and San Francisco State professor. Cook the art student also played on the lacrosse team with Michael O’Connor, who would later become a nightlife impresario, known for legendary venues Mr. Fives, the Justice League, and the New Parish. He remembers zipping on a scooter with O’Connor to catch shows at Wolfgang’s nightclub.\u003c/p>\n\u003cp>“We’re all just there as part of the same cultural tokens, all these people that became pillars of hip-hop evolution,” Cook says. “That was just part of our social network, you know, we need to call it hip-hop. (But) we were just like, yeah, that’s our folks.” \u003c/p>\n\u003cfigure id=\"attachment_13928969\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.self_.jpg\" alt=\"\" width=\"600\" height=\"745\" class=\"size-full wp-image-13928969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.self_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.self_-160x199.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘Self,’ spray enamel on masonry,\u003cbr>non-permissional public work, Fruitvale tracks, Oakland, 1998.\u003cbr>The text reads: ‘The wall is my canvas, the canvas is my message, the message is my theory, the theory is my life.’ \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back then, aerosol art was regarded as “a pejorative medium,” Cook says. When he started studying painting at UC Berkeley, his art teachers “would not look at this as a legitimate medium. And I understood that as racist. It was almost part of this chip on my shoulder that I had as a young practitioner.”\u003c/p>\n\u003cp>In San Diego, Cook recalls associating hip-hop with Black and brown inner-city communities, and thinking that was what defined hip-hop. The Bay’s multiculturalism threw him for a loop, before becoming part of his milieu. Another compelling aspect was the Bay’s focus on social justice and activism, and the influence of both institutional and non-profit spaces. In addition to hip-hop culture and graffiti style being embraced locally, he says, “this is a place with a mural tradition. This is a place with a public art tradition. There were all these other kind of engines that gave it energy in a unique way.” \u003c/p>\n\u003cp>In the late ’80s, he says, the Bay stood out from other regions. “Chicago, Los Angeles and San Francisco were all mural-making centers at that time,” Cook says, but “spray paint was not really embraced the same way it was here.” While New York also had an established mural tradition, and was obviously a major center of hip-hop culture, Cook notes street artists there felt more pressured to go the commercial route. \u003c/p>\n\u003cfigure id=\"attachment_13928959\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.headshot-800x800.jpg\" alt=\"\" width=\"600\" height=\"600\" class=\"size-medium wp-image-13928959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.headshot-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.headshot-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.headshot-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.headshot.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Brett Cook. \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’90s, Cook threw himself into street art, most of it non-permitted, sometimes collaborating with another artist named Aaron Wade, sometimes piecing on his own. In addition to graffiti’s continued development, all kinds of other public work flourished at the time, in what Cook refers to as “a high-water mark of public art expression.”\u003c/p>\n\u003cp>Institutional support came first from community-oriented nonprofits and cultural centers, and later spread to museums and academic institutions. Early on, he says, the Luggage Store and Mural Resource Center supported emerging artists, as did Precita Eyes, which named Cook “Best New Muralist” for his spray-paint creations in 1993. \u003c/p>\n\u003cp>[aside postID='arts_13928681']In the mid-’90s, Cook became part of the first wave of Bay Area aerosol artists to exhibit at larger, well-respected institutional spaces, along with Barry “Twist” McGee. Those years were especially vibrant: Cook worked at Southern Exposure as a curator, created murals in Mission District alleys and elsewhere around the city, and still painted at the railroad tracks. “There was a really diverse way of understanding what it meant to be an artist,” he says. “(You) didn’t have to just be a writer, didn’t have to just do portraits, didn’t have to just be in the nonprofit system. That, I think, is part of how I got to manifest in the complexity that I am now.”\u003c/p>\n\u003cfigure id=\"attachment_13928962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.youngghosts-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13928962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of Brett Cook’s ‘Reflection & Action,’ at YBCA. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Voices of the people\u003c/h2>\n\u003cp>Intentionally, Cook’s portraits at YBCA aren’t overly photorealistic, which would perhaps conceal the human essence of the subjects, the seeming imperfections which reveal character and intangible qualities. Instead, though his portraits utilize photos as starting points, the finished images contain vibrant color palettes imbued with dynamic energy that become windows into the souls of the people Cook paints. The Young Ghosts – all of them joyful and filled with vitality – will be remembered as they were on their best days.\u003c/p>\n\u003cp>This empathetic connection with his subjects stretches back at least three decades. One of Cook’s first major installations, Homelessness, was completed in 1993 on the exterior of YBCA while the center was under construction. By all accounts, that project – photos of which are included in the current exhibition – was a turning point for the artist. \u003c/p>\n\u003cp>He recalls applying for the project (“at the time, no one was doing construction walls”) and being accepted, along with Michael Rios and Barry McGee. In those years, SoMA “was really an extension of the Tenderloin at that time,” he says, with working-class and immigrant families alongside unhoused people, who in the public’s perception were an eyesore but not yet an epidemic. \u003c/p>\n\u003cfigure id=\"attachment_13928963\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.YBCA_93-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93.jpg 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘Homelessness,’ from the YBCA construction wall site.\u003cbr>Spray enamel on wood, Third\u003cbr>and Howard Streets, San Francisco, 1992. \u003ccite>(Courtesy Brett Cook )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, for the project, Cook “was just going to do portraits with statistics about homelessness, or being unhoused — we didn’t even use that term then. And then somewhere in the process, I got this idea to actually interview the people and use their voices, their quotes. And really, that was the beginning of my 30-year practice.”\u003c/p>\n\u003cp>After graduating from college, Cook moved to New York City in the late ’90s – a vibrant time for the city, with all kinds of cultural immersion opportunities. Headquartered in a live-work loft that he used as a studio, as well as to throw memorable all-night parties, he eased into the NYC art world and was embraced by the city’s hip-hop community. He took part in the first hip-hop exhibition at the Brooklyn Museum, and later exhibited in Europe with Sanford Biggars in another hip-hop-themed exhibition.\u003c/p>\n\u003cp>While his art eschews hip-hop cliches, incorporating hip-hop’s social and cultural sensibilities lent Cook agency. “Doing a project in hip-hop in Brooklyn in 1999, it was an investigation for me to realize like, yeah, really, hip-hop is me,” Cook says. “It’s my culture. It comes from me, from being a Black American exposed to the kind of aesthetic cues and the postmodernist sensibility of what it was and really the expression of my voice at that time.”\u003c/p>\n\u003cfigure id=\"attachment_13928964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Poor_-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13928964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-1536x1019.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_.jpg 1810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A public project with photos from the 6th Street photography workshop and the Luggage Store. Spray enamel on wood, San Francisco, 1993. \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cook’s approach may not sound like the revolutionary counternarrative that it is. “In the history of Western art,” he explains, “the model almost never has a voice. …When you see Gauguin paint those naked ladies in Polynesia, even when you see someone doing a character on a wall somewhere, it’s usually through the filter of the artist (that) you’re hearing about that person. What started for me 30 years ago, and now has kind of evolved, is recognizing that actually, this is an opportunity to magnify this person’s voice, both literally and using quotations from interviews with them.”\u003c/p>\n\u003cp>Examples of this technique inform nearly every aspect of \u003cem>Reflection & Action\u003c/em>. Some of Cook’s subjects are well-known, with a degree of familiarity, celebrity, or at least expertise in their fields. But the majority are unsung figures like Oakland muralist Melanie Cervantes, grounded in community sensibilities and/or a personal aesthetic, who will be unfamiliar to many viewers. \u003c/p>\n\u003cfigure id=\"attachment_13928968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Bedoya-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13928968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brett Cook with his portrait of Oakland poet and Cultural Affairs Manager Robert Bedoya at YBCA in San Francisco. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Encountering Cook’s portrait of Roberto Bedoya, the viewer is led to contrast the portrait with its source photo, but also to balance the visual image with quotes about belonging, equity, and culture as important societal values. Awareness of Bedoya’s long history as a progressive Chicano-Latino poet, cultural policy advocate, and current Cultural Affairs Manager for the City of Oakland aren’t prerequisites for allowing his words and likeness to resonate. \u003c/p>\n\u003cp>“When I think about the conventions of the way people are trained to come into a museum or come into a gallery, there’s not the expectation that they’re supposed to do anything other than consume these passive objects,” he says. His work, however, has been informed “by the crucible of the Bay Area, of having a social justice sensibility, for so much of my life that it wasn’t just enough to make an object.”\u003c/p>\n\u003cfigure id=\"attachment_13928958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.LilBobby-800x435.jpg\" alt=\"\" width=\"800\" height=\"435\" class=\"size-medium wp-image-13928958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby-1020x555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brett Cook’s portrait of Little Bobby Hutton, accompanied by the 10th point of the Black Panthers’ Ten-Point Program, as part of a 2012 Oakland Museum of California installation in collaboration with Life is Living/Reflections of Healing. \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art as a healing force\u003c/h2>\n\u003cp>Healing urban communities of deep-rooted trauma has been a recurring theme of Cook’s work long before “The Black (W)hole.” \u003cem>Reflection & Action\u003c/em> includes a series of portraits done while Cook was living in Harlem in the late ’90 and 2000s that show everyday denizens of the New York neighborhood, which first appeared as public art installations intended to foster an authentic sense of community. Cook’s “Reflections of Healing” series from the 2010s immortalized local legends like former Black Panthers Lil Bobby Hutton — depicted as an angel, with wings — and Joan Tarika Lewis. This series was displayed during the annual Life Is Living festival in West Oakland’s DeFremery Park, which Cook assisted in curating, and has appeared on the exterior wall of the Oakland Museum of California, facing traffic on Lake Merritt Boulevard. \u003c/p>\n\u003cp>Addressing trauma remains a common theme in hip-hop as well, whether expressed through R.I.P. T-shirts, mural memorials, rapped eulogies, or turf dance tributes. Urban dwellers often have to maintain positivity in less-than-ideal living and environmental conditions, address social, cultural and economic inequity in positive ways, and claim identity separate from being othered.\u003c/p>\n\u003cfigure id=\"attachment_13928957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Overhead.YBCA_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Reflection & Action’ at YBCA. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But while hip-hop has leaned in on social, economic and environmental conditions as causes for trauma and PTSD, considerably less emphasis has been placed on finding ways to heal. Cook doesn’t necessarily have all the answers. But he believes members of urban communities who can relate to the struggle do; they may just not know it yet. This is where the “Action” in \u003cem>Reflection & Action\u003c/em> comes in. Cook’s art is not intended to elicit passive participation. It’s a call for an intentional response; to find answers by looking at static-seeming fields like policymaking with creative eyes.\u003c/p>\n\u003cp>Cook explains how, a few years ago, he was involved in a collaborative project with SF State and the Health Equity Institute, “looking at public housing in San Francisco and what art and healing existed there, with the idea to support funding and programs through the development of these public housing projects, to give people more access to those things.”\u003c/p>\n\u003cp>The experience cemented a core belief in Cook’s work, and the way art interacts with the world. “I don’t think it’s just about developers,” he says. “It’s policymakers, it’s politicians, it’s educators. Within all of these different sectors, there is the possibility to be more creative with the way that we work.”\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Reflection & Action’ runs through June 11, 2023, at the Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/brett-cook-liz-lerman-reflection-and-action/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Rooted in hip-hop, the Bay Area multimedia artist empathetically addresses trauma and healing.","status":"publish","parent":0,"modified":1705005514,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":34,"wordCount":2963},"headData":{"title":"Brett Cook Reflects on 30 Years of Socially Conscious Art | KQED","description":"Rooted in hip-hop, the Bay Area multimedia artist empathetically addresses trauma and healing.","ogTitle":"Brett Cook Reflects on 30 Years of Socially Conscious Art","ogDescription":"Rooted in hip-hop, the Bay Area multimedia artist empathetically addresses trauma and healing.","ogImgId":"arts_13928990","twTitle":"Brett Cook Reflects on 30 Years of Socially Conscious Art","twDescription":"Rooted in hip-hop, the Bay Area multimedia artist empathetically addresses trauma and healing.","twImgId":"arts_13928990"},"source":"That's My Word","sourceUrl":"/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928948/brett-cook-reflects-on-30-years-of-socially-conscious-art","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the highlights of \u003cem>Reflection & Action\u003c/em>, Brett Cook’s career-spanning exhibit at Yerba Buena Center for the Arts (with choreographer Liz Leman) seeks to make poignant, emotionally-resonant art out of unthinkable tragedy.\u003c/p>\n\u003cp>“The Black (W)hole” is an installation of six “Young Ghosts” — people of color from Oakland, all killed before their 32nd birthdays. Cook fashioned ancestor altars for the six subjects – Alex Goodwin Jr., Sahleem Tindle, Sultan Bey, Vernon Eddins Jr., Victor McElhaney, and Yasmeen Vaughan – using oil paint, mirrored plexiglass, wood, dye-infused metal prints, artificial flowers, and string lights. The choice of a mirrored surface is especially appropriate, as viewers can gaze deeply into the portal-like portraits and see their own reflections. \u003c/p>\n\u003cp>The portraits, adorned with photographs of their subjects from various stages of their brief lives, effectively serve as bridges to the spirit world, and reminders that urban youth of today often face greater trauma than their parents once did. These six Black lives mattered. Honoring their lives is an opportunity to lift up community health by naming them and acknowledging their existence. Some of us knew these six young people. Many of us know people just like them, who were taken too soon. While grief is unavoidable in these situations, there is solace to be found in Cook’s art, which celebrates these unfortunate martyrs while issuing a subliminal call to end the violence on our streets that kills our youth. \u003c/p>\n\u003cfigure id=\"attachment_13928966\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.victor-1020x801.jpg\" alt=\"\" width=\"640\" height=\"503\" class=\"size-large wp-image-13928966\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-1020x801.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-800x628.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-768x603.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor-1536x1206.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.victor.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Brett Cook’s portrait of Victor McElhaney, as part of the ‘The Black (W)hole.’ \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That the installation serves its intended function was confirmed by a recent visit to the YBCA gallery, where Lynette McElhaney, Victor’s mother and a former Oakland city councilmember, was observed communing with her son’s portrait. McElhaney’s suffering has been the most public of all the Young Ghosts’ mothers; it’s entirely ironic that the founder of Oakland’s Department of Violence Prevention was later personally impacted by violence. She will never be the same again. But on this Thursday afternoon, in a nearly-empty gallery, she appears to be having a therapeutic experience, staring into Victor’s portrait and thinking unspoken words. The installation won’t bring her son back. But it allows her to interact with his image in a deeply spiritual way. \u003c/p>\n\u003cp>Cook’s artistic practice over the past 30-something years has frequently attained these elevated levels of poignance. His journey of creative expression began with a cultural identification with hip-hop, and an attraction to graffiti. Cook went from being a tagger to a piecer, and then a muralist, portraitist and multimedia creator, mastering each step along the way. His art has been intertwined with his work in education, which has added pedagogy, often of a radical nature, to his toolkit. And though he’s exhibited in Europe, completed projects in Mexico, and been part of an avant-garde New York loft scene during the late ’90s and early 2000s, much of his formative years as an artist-educator were shaped by his time in the Bay Area of the early ’80s through mid-’90s. \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>“When I started painting on walls, there was no hip-hop section at the record store,” Cook remembers, though hip-hop was already an extension of his cultural existence. “I was a popper. I was a writer. I wrote rhymes. And because I could draw good, I started painting on walls. I was painting in San Diego before Beat Street, before Sprite commercials with beats in them. And so there wasn’t even that traditional apprenticeship program, to kind of scaffold what I thought graffiti or hip-hop was supposed to be. It was really just a cultural expression of myself.” \u003c/p>\n\u003cfigure id=\"attachment_13928965\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Crayon-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" class=\"size-medium wp-image-13928965\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Crayon.jpg 1089w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Crayon,’ spray enamel on masonry (non-permissional\u003cbr>work), Psycho City, Market and Franklin Streets, San Francisco, 1988. \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Coming of age in hip-hop\u003c/h2>\n\u003cp>Cook arrived in the Bay Area as a young UC Berkeley undergrad in 1986 – a time when local hip-hop and the graffiti subculture were both in formative stages. During the late ’80s, “there were comic book stores all over Telegraph (Avenue in Berkeley), and people were tagging all around. You could tell what a writer looked like, and you’re still stealing caps from spray fixative shops, from the art stores. For me, that was the burgeoning of the golden age of graffiti here in the Bay.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13926619","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Cook studied art classes as an undergrad. But he also got an education in Hip-Hop Community 101. His neighbor in the UC Berkeley dorms was Ben “Beni B” Nickleberry – a hip-hop DJ who would mix records on turntables in his dorm room, whose KALX-FM show featured some of the earliest appearances by Digital Underground, and who would go on to become a founding member of the Bay Area Hip-Hop Coalition and the force behind indie hip-hop label ABB Records. Cook also soon met Dave “Davey D” Cook (no relation), who would go from KALX DJ to KMEL on-air personality to KPFA public affairs host and San Francisco State professor. Cook the art student also played on the lacrosse team with Michael O’Connor, who would later become a nightlife impresario, known for legendary venues Mr. Fives, the Justice League, and the New Parish. He remembers zipping on a scooter with O’Connor to catch shows at Wolfgang’s nightclub.\u003c/p>\n\u003cp>“We’re all just there as part of the same cultural tokens, all these people that became pillars of hip-hop evolution,” Cook says. “That was just part of our social network, you know, we need to call it hip-hop. (But) we were just like, yeah, that’s our folks.” \u003c/p>\n\u003cfigure id=\"attachment_13928969\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.self_.jpg\" alt=\"\" width=\"600\" height=\"745\" class=\"size-full wp-image-13928969\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.self_.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.self_-160x199.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">‘Self,’ spray enamel on masonry,\u003cbr>non-permissional public work, Fruitvale tracks, Oakland, 1998.\u003cbr>The text reads: ‘The wall is my canvas, the canvas is my message, the message is my theory, the theory is my life.’ \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Back then, aerosol art was regarded as “a pejorative medium,” Cook says. When he started studying painting at UC Berkeley, his art teachers “would not look at this as a legitimate medium. And I understood that as racist. It was almost part of this chip on my shoulder that I had as a young practitioner.”\u003c/p>\n\u003cp>In San Diego, Cook recalls associating hip-hop with Black and brown inner-city communities, and thinking that was what defined hip-hop. The Bay’s multiculturalism threw him for a loop, before becoming part of his milieu. Another compelling aspect was the Bay’s focus on social justice and activism, and the influence of both institutional and non-profit spaces. In addition to hip-hop culture and graffiti style being embraced locally, he says, “this is a place with a mural tradition. This is a place with a public art tradition. There were all these other kind of engines that gave it energy in a unique way.” \u003c/p>\n\u003cp>In the late ’80s, he says, the Bay stood out from other regions. “Chicago, Los Angeles and San Francisco were all mural-making centers at that time,” Cook says, but “spray paint was not really embraced the same way it was here.” While New York also had an established mural tradition, and was obviously a major center of hip-hop culture, Cook notes street artists there felt more pressured to go the commercial route. \u003c/p>\n\u003cfigure id=\"attachment_13928959\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.headshot-800x800.jpg\" alt=\"\" width=\"600\" height=\"600\" class=\"size-medium wp-image-13928959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.headshot-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.headshot-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.headshot-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.headshot.jpg 1000w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Brett Cook. \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the ’90s, Cook threw himself into street art, most of it non-permitted, sometimes collaborating with another artist named Aaron Wade, sometimes piecing on his own. In addition to graffiti’s continued development, all kinds of other public work flourished at the time, in what Cook refers to as “a high-water mark of public art expression.”\u003c/p>\n\u003cp>Institutional support came first from community-oriented nonprofits and cultural centers, and later spread to museums and academic institutions. Early on, he says, the Luggage Store and Mural Resource Center supported emerging artists, as did Precita Eyes, which named Cook “Best New Muralist” for his spray-paint creations in 1993. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13928681","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In the mid-’90s, Cook became part of the first wave of Bay Area aerosol artists to exhibit at larger, well-respected institutional spaces, along with Barry “Twist” McGee. Those years were especially vibrant: Cook worked at Southern Exposure as a curator, created murals in Mission District alleys and elsewhere around the city, and still painted at the railroad tracks. “There was a really diverse way of understanding what it meant to be an artist,” he says. “(You) didn’t have to just be a writer, didn’t have to just do portraits, didn’t have to just be in the nonprofit system. That, I think, is part of how I got to manifest in the complexity that I am now.”\u003c/p>\n\u003cfigure id=\"attachment_13928962\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.youngghosts-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13928962\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.youngghosts.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of Brett Cook’s ‘Reflection & Action,’ at YBCA. \u003ccite>(Eric Arnold/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Voices of the people\u003c/h2>\n\u003cp>Intentionally, Cook’s portraits at YBCA aren’t overly photorealistic, which would perhaps conceal the human essence of the subjects, the seeming imperfections which reveal character and intangible qualities. Instead, though his portraits utilize photos as starting points, the finished images contain vibrant color palettes imbued with dynamic energy that become windows into the souls of the people Cook paints. The Young Ghosts – all of them joyful and filled with vitality – will be remembered as they were on their best days.\u003c/p>\n\u003cp>This empathetic connection with his subjects stretches back at least three decades. One of Cook’s first major installations, Homelessness, was completed in 1993 on the exterior of YBCA while the center was under construction. By all accounts, that project – photos of which are included in the current exhibition – was a turning point for the artist. \u003c/p>\n\u003cp>He recalls applying for the project (“at the time, no one was doing construction walls”) and being accepted, along with Michael Rios and Barry McGee. In those years, SoMA “was really an extension of the Tenderloin at that time,” he says, with working-class and immigrant families alongside unhoused people, who in the public’s perception were an eyesore but not yet an epidemic. \u003c/p>\n\u003cfigure id=\"attachment_13928963\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.YBCA_93-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928963\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.YBCA_93.jpg 1086w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A portion of ‘Homelessness,’ from the YBCA construction wall site.\u003cbr>Spray enamel on wood, Third\u003cbr>and Howard Streets, San Francisco, 1992. \u003ccite>(Courtesy Brett Cook )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Initially, for the project, Cook “was just going to do portraits with statistics about homelessness, or being unhoused — we didn’t even use that term then. And then somewhere in the process, I got this idea to actually interview the people and use their voices, their quotes. And really, that was the beginning of my 30-year practice.”\u003c/p>\n\u003cp>After graduating from college, Cook moved to New York City in the late ’90s – a vibrant time for the city, with all kinds of cultural immersion opportunities. Headquartered in a live-work loft that he used as a studio, as well as to throw memorable all-night parties, he eased into the NYC art world and was embraced by the city’s hip-hop community. He took part in the first hip-hop exhibition at the Brooklyn Museum, and later exhibited in Europe with Sanford Biggars in another hip-hop-themed exhibition.\u003c/p>\n\u003cp>While his art eschews hip-hop cliches, incorporating hip-hop’s social and cultural sensibilities lent Cook agency. “Doing a project in hip-hop in Brooklyn in 1999, it was an investigation for me to realize like, yeah, really, hip-hop is me,” Cook says. “It’s my culture. It comes from me, from being a Black American exposed to the kind of aesthetic cues and the postmodernist sensibility of what it was and really the expression of my voice at that time.”\u003c/p>\n\u003cfigure id=\"attachment_13928964\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Poor_-800x531.jpg\" alt=\"\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13928964\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_-1536x1019.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Poor_.jpg 1810w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A public project with photos from the 6th Street photography workshop and the Luggage Store. Spray enamel on wood, San Francisco, 1993. \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cook’s approach may not sound like the revolutionary counternarrative that it is. “In the history of Western art,” he explains, “the model almost never has a voice. …When you see Gauguin paint those naked ladies in Polynesia, even when you see someone doing a character on a wall somewhere, it’s usually through the filter of the artist (that) you’re hearing about that person. What started for me 30 years ago, and now has kind of evolved, is recognizing that actually, this is an opportunity to magnify this person’s voice, both literally and using quotations from interviews with them.”\u003c/p>\n\u003cp>Examples of this technique inform nearly every aspect of \u003cem>Reflection & Action\u003c/em>. Some of Cook’s subjects are well-known, with a degree of familiarity, celebrity, or at least expertise in their fields. But the majority are unsung figures like Oakland muralist Melanie Cervantes, grounded in community sensibilities and/or a personal aesthetic, who will be unfamiliar to many viewers. \u003c/p>\n\u003cfigure id=\"attachment_13928968\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Bedoya-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13928968\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Bedoya.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brett Cook with his portrait of Oakland poet and Cultural Affairs Manager Robert Bedoya at YBCA in San Francisco. \u003ccite>(Eric Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Encountering Cook’s portrait of Roberto Bedoya, the viewer is led to contrast the portrait with its source photo, but also to balance the visual image with quotes about belonging, equity, and culture as important societal values. Awareness of Bedoya’s long history as a progressive Chicano-Latino poet, cultural policy advocate, and current Cultural Affairs Manager for the City of Oakland aren’t prerequisites for allowing his words and likeness to resonate. \u003c/p>\n\u003cp>“When I think about the conventions of the way people are trained to come into a museum or come into a gallery, there’s not the expectation that they’re supposed to do anything other than consume these passive objects,” he says. His work, however, has been informed “by the crucible of the Bay Area, of having a social justice sensibility, for so much of my life that it wasn’t just enough to make an object.”\u003c/p>\n\u003cfigure id=\"attachment_13928958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.LilBobby-800x435.jpg\" alt=\"\" width=\"800\" height=\"435\" class=\"size-medium wp-image-13928958\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby-800x435.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby-1020x555.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby-160x87.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby-768x418.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.LilBobby.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brett Cook’s portrait of Little Bobby Hutton, accompanied by the 10th point of the Black Panthers’ Ten-Point Program, as part of a 2012 Oakland Museum of California installation in collaboration with Life is Living/Reflections of Healing. \u003ccite>(Courtesy Brett Cook)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Art as a healing force\u003c/h2>\n\u003cp>Healing urban communities of deep-rooted trauma has been a recurring theme of Cook’s work long before “The Black (W)hole.” \u003cem>Reflection & Action\u003c/em> includes a series of portraits done while Cook was living in Harlem in the late ’90 and 2000s that show everyday denizens of the New York neighborhood, which first appeared as public art installations intended to foster an authentic sense of community. Cook’s “Reflections of Healing” series from the 2010s immortalized local legends like former Black Panthers Lil Bobby Hutton — depicted as an angel, with wings — and Joan Tarika Lewis. This series was displayed during the annual Life Is Living festival in West Oakland’s DeFremery Park, which Cook assisted in curating, and has appeared on the exterior wall of the Oakland Museum of California, facing traffic on Lake Merritt Boulevard. \u003c/p>\n\u003cp>Addressing trauma remains a common theme in hip-hop as well, whether expressed through R.I.P. T-shirts, mural memorials, rapped eulogies, or turf dance tributes. Urban dwellers often have to maintain positivity in less-than-ideal living and environmental conditions, address social, cultural and economic inequity in positive ways, and claim identity separate from being othered.\u003c/p>\n\u003cfigure id=\"attachment_13928957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/BR.Overhead.YBCA_-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13928957\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/BR.Overhead.YBCA_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An installation view of ‘Reflection & Action’ at YBCA. \u003ccite>(Charlie Villyard/YBCA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But while hip-hop has leaned in on social, economic and environmental conditions as causes for trauma and PTSD, considerably less emphasis has been placed on finding ways to heal. Cook doesn’t necessarily have all the answers. But he believes members of urban communities who can relate to the struggle do; they may just not know it yet. This is where the “Action” in \u003cem>Reflection & Action\u003c/em> comes in. Cook’s art is not intended to elicit passive participation. It’s a call for an intentional response; to find answers by looking at static-seeming fields like policymaking with creative eyes.\u003c/p>\n\u003cp>Cook explains how, a few years ago, he was involved in a collaborative project with SF State and the Health Equity Institute, “looking at public housing in San Francisco and what art and healing existed there, with the idea to support funding and programs through the development of these public housing projects, to give people more access to those things.”\u003c/p>\n\u003cp>The experience cemented a core belief in Cook’s work, and the way art interacts with the world. “I don’t think it’s just about developers,” he says. “It’s policymakers, it’s politicians, it’s educators. Within all of these different sectors, there is the possibility to be more creative with the way that we work.”\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>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Reflection & Action’ runs through June 11, 2023, at the Yerba Buena Center for the Arts. \u003ca href=\"https://ybca.org/event/brett-cook-liz-lerman-reflection-and-action/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928948/brett-cook-reflects-on-30-years-of-socially-conscious-art","authors":["11839"],"categories":["arts_1","arts_835","arts_69","arts_70"],"tags":["arts_903","arts_831","arts_19347","arts_1040"],"featImg":"arts_13928967","label":"source_arts_13928948"},"arts_13928681":{"type":"posts","id":"arts_13928681","meta":{"index":"posts_1591205157","site":"arts","id":"13928681","score":null,"sort":[1683670647000]},"guestAuthors":[],"slug":"san-francisco-graffiti-exhibit-letterform-archive-fanzines","title":"The Colorful History of 1990s Graffiti Zines Comes Alive in New SF Exhibition","publishDate":1683670647,"format":"standard","headTitle":"The Colorful History of 1990s Graffiti Zines Comes Alive in New SF Exhibition | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>If you were a skater, punk or hip-hop fan in the ’90s, graffiti zines were just another part of the culture. The hand-stapled, photocopied scene reports were a product of graf writers and street art enthusiasts banding together, taking photos with cheap point-and-shoot cameras, developing the images, and then collaging the best ones to share with eager readers.\u003c/p>\n\u003cp>\u003ca href=\"https://letterformarchive.org/news/subscription-to-mischief-graffiti-zines-of-the-1990s-exhibition/\">\u003cem>Subscription to Mischief: Graffiti Zines of the 1990s\u003c/em>\u003c/a>, a new exhibition at \u003ca href=\"https://letterformarchive.org/\">Letterform Archive\u003c/a>, seeks to capture that community as it was before the new millennium rolled in. It’s a time machine for anyone who was there the first time around, and a valuable glimpse into a since-changed underground scene for those who weren’t.\u003c/p>\n\u003cfigure id=\"attachment_13928902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-800x477.png\" alt=\"A sheet of six images featuring the face of Andre the Giant with the text, 'Andre the Giant has a posse' and his height and weight.\" width=\"800\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-800x477.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-1020x608.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-768x458.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM.png 1130w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey’s ‘Andre the Giant has a posse’ stickers were ubiquitous in the latter half of the ’90s. This unusual full color set is on display at Letterform Archive as part of ‘Subscription to Mischief.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The small-but-dense exhibition was curated by Letterform Archive’s Kate Long Stellar and Rob Saunders, working in tandem with \u003ca href=\"http://www.greglamarche.com/\">Greg Lamarche\u003c/a> (a.k.a. \u003ca href=\"https://dirtypilot.com/collections/spone\">Sp.One\u003c/a>), the artist and former publisher of \u003cem>Skills\u003c/em> magazine. Fellow graffiti writers \u003ca href=\"https://www.keltroughtonstudio.com/\">Kel Troughton\u003c/a> and \u003ca href=\"https://www.instagram.com/chinobyi/?hl=en\">David Villorente\u003c/a> (a.k.a. \u003ca href=\"https://en.wikipedia.org/wiki/Chino_BYI\">Chino BYI\u003c/a>, former editor of \u003cem>The Source\u003c/em> magazine’s\u003cem> Graf Flix\u003c/em> column) also curated. As such, the final result is an authentic look at the underground scene from those immersed in it. Many of the items on display come from Lamarche’s own personal archive of graffiti-related artifacts he’s faithfully collected for more than three decades.\u003c/p>\n\u003cp>Glimpses of early works by street art giants like Barry McGee, Shepard Fairey and Steve Powers share equal billing with handwritten correspondence between those in the subculture at the time. The letters are often works of art in and of themselves, with highly stylized lettering and adjoining sketches. Their content is also a reminder of just how time- and effort-intensive these kinds of projects were in the days before the internet. “Take your time with my pictures,” a writer named The Dekster says in one letter. “I’m in no rush to get them back. I know they are in good hands.”\u003c/p>\n\u003cfigure id=\"attachment_13928683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LfA_Mischief_press_11-800x683.jpg\" alt=\"A hand written letter and sketch of a man done in 90s hip hop style lays on a sheet next to a photo of graffiti, a sticker with a JOKER tag on it and some artwork of a guillotine.\" width=\"800\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-1536x1311.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11.jpg 1749w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘I’m back in the SF Bay Area where a lot of people are painting,’ this letter from Jerry (a.k.a. Joker) says. ‘So enclosed is (hopefully!) good photos of some of the new stuff that’s running.’ \u003ccite>(Letterpress Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>Subscription to Mischief\u003c/em> is focused largely on the east coast — starting with the New York subway art of the ’70s and ’80s — it also reflects a global community. Zines from as far afield as Copenhagen, London and Stockholm are included. San Francisco is represented by \u003cem>Girlzbomb\u003c/em>, a zine by \u003ca href=\"https://www.instagram.com/jocelyn_superstar/?hl=en\">Jocelyn Superstar\u003c/a> about female graffiti writers, and \u003cem>Graffiti\u003c/em>, by Nate Smith and \u003ca href=\"https://rvca.com/anp/artists/josh-lazcano.html\">Josh Lazcano\u003c/a>. Artwork from longtime SF resident \u003ca href=\"https://www.mikegiant.com/\">Mike Giant\u003c/a> is also featured via a 1997 issue of \u003cem>Huffer\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Subscription to Mischief\u003c/em> is a fascinating look at an incredibly specific moment in time. One that was forever changed by the arrival of the internet, legal clampdowns on graffiti and the advancement of street artists into mainstream culture. If you were a young person in the ’90s, expect pangs of intense nostalgia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Subscription to Mischief: Graffiti Zines of the 1990s’ is on display through Nov. 1, 2023, at Letterform Archive (2325 Third St., Floor 4R, San Francisco). \u003ca href=\"https://letterformarchive.org/news/subscription-to-mischief-graffiti-zines-of-the-1990s-exhibition/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"‘Subscription to Mischief: Graffiti Zines of the 1990s’ is a time machine back to the decade's subcultures.","status":"publish","parent":0,"modified":1705005522,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":599},"headData":{"title":"The Colorful History of 1990s Graffiti Zines Comes Alive in New SF Exhibition | KQED","description":"‘Subscription to Mischief: Graffiti Zines of the 1990s’ is a time machine back to the decade's subcultures.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13928681/san-francisco-graffiti-exhibit-letterform-archive-fanzines","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you were a skater, punk or hip-hop fan in the ’90s, graffiti zines were just another part of the culture. The hand-stapled, photocopied scene reports were a product of graf writers and street art enthusiasts banding together, taking photos with cheap point-and-shoot cameras, developing the images, and then collaging the best ones to share with eager readers.\u003c/p>\n\u003cp>\u003ca href=\"https://letterformarchive.org/news/subscription-to-mischief-graffiti-zines-of-the-1990s-exhibition/\">\u003cem>Subscription to Mischief: Graffiti Zines of the 1990s\u003c/em>\u003c/a>, a new exhibition at \u003ca href=\"https://letterformarchive.org/\">Letterform Archive\u003c/a>, seeks to capture that community as it was before the new millennium rolled in. It’s a time machine for anyone who was there the first time around, and a valuable glimpse into a since-changed underground scene for those who weren’t.\u003c/p>\n\u003cfigure id=\"attachment_13928902\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928902\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-800x477.png\" alt=\"A sheet of six images featuring the face of Andre the Giant with the text, 'Andre the Giant has a posse' and his height and weight.\" width=\"800\" height=\"477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-800x477.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-1020x608.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM-768x458.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/Screen-Shot-2023-05-09-at-2.07.53-PM.png 1130w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shepard Fairey’s ‘Andre the Giant has a posse’ stickers were ubiquitous in the latter half of the ’90s. This unusual full color set is on display at Letterform Archive as part of ‘Subscription to Mischief.’ \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The small-but-dense exhibition was curated by Letterform Archive’s Kate Long Stellar and Rob Saunders, working in tandem with \u003ca href=\"http://www.greglamarche.com/\">Greg Lamarche\u003c/a> (a.k.a. \u003ca href=\"https://dirtypilot.com/collections/spone\">Sp.One\u003c/a>), the artist and former publisher of \u003cem>Skills\u003c/em> magazine. Fellow graffiti writers \u003ca href=\"https://www.keltroughtonstudio.com/\">Kel Troughton\u003c/a> and \u003ca href=\"https://www.instagram.com/chinobyi/?hl=en\">David Villorente\u003c/a> (a.k.a. \u003ca href=\"https://en.wikipedia.org/wiki/Chino_BYI\">Chino BYI\u003c/a>, former editor of \u003cem>The Source\u003c/em> magazine’s\u003cem> Graf Flix\u003c/em> column) also curated. As such, the final result is an authentic look at the underground scene from those immersed in it. Many of the items on display come from Lamarche’s own personal archive of graffiti-related artifacts he’s faithfully collected for more than three decades.\u003c/p>\n\u003cp>Glimpses of early works by street art giants like Barry McGee, Shepard Fairey and Steve Powers share equal billing with handwritten correspondence between those in the subculture at the time. The letters are often works of art in and of themselves, with highly stylized lettering and adjoining sketches. Their content is also a reminder of just how time- and effort-intensive these kinds of projects were in the days before the internet. “Take your time with my pictures,” a writer named The Dekster says in one letter. “I’m in no rush to get them back. I know they are in good hands.”\u003c/p>\n\u003cfigure id=\"attachment_13928683\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928683\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/LfA_Mischief_press_11-800x683.jpg\" alt=\"A hand written letter and sketch of a man done in 90s hip hop style lays on a sheet next to a photo of graffiti, a sticker with a JOKER tag on it and some artwork of a guillotine.\" width=\"800\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-800x683.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-1020x871.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-160x137.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-768x656.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11-1536x1311.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/LfA_Mischief_press_11.jpg 1749w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘I’m back in the SF Bay Area where a lot of people are painting,’ this letter from Jerry (a.k.a. Joker) says. ‘So enclosed is (hopefully!) good photos of some of the new stuff that’s running.’ \u003ccite>(Letterpress Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Though \u003cem>Subscription to Mischief\u003c/em> is focused largely on the east coast — starting with the New York subway art of the ’70s and ’80s — it also reflects a global community. Zines from as far afield as Copenhagen, London and Stockholm are included. San Francisco is represented by \u003cem>Girlzbomb\u003c/em>, a zine by \u003ca href=\"https://www.instagram.com/jocelyn_superstar/?hl=en\">Jocelyn Superstar\u003c/a> about female graffiti writers, and \u003cem>Graffiti\u003c/em>, by Nate Smith and \u003ca href=\"https://rvca.com/anp/artists/josh-lazcano.html\">Josh Lazcano\u003c/a>. Artwork from longtime SF resident \u003ca href=\"https://www.mikegiant.com/\">Mike Giant\u003c/a> is also featured via a 1997 issue of \u003cem>Huffer\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Subscription to Mischief\u003c/em> is a fascinating look at an incredibly specific moment in time. One that was forever changed by the arrival of the internet, legal clampdowns on graffiti and the advancement of street artists into mainstream culture. If you were a young person in the ’90s, expect pangs of intense nostalgia.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003cem>‘Subscription to Mischief: Graffiti Zines of the 1990s’ is on display through Nov. 1, 2023, at Letterform Archive (2325 Third St., Floor 4R, San Francisco). \u003ca href=\"https://letterformarchive.org/news/subscription-to-mischief-graffiti-zines-of-the-1990s-exhibition/\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13928681/san-francisco-graffiti-exhibit-letterform-archive-fanzines","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_75","arts_70"],"tags":["arts_19562","arts_10278","arts_903","arts_831","arts_585","arts_901"],"featImg":"arts_13928684","label":"arts_140"},"arts_13926619":{"type":"posts","id":"arts_13926619","meta":{"index":"posts_1591205157","site":"arts","id":"13926619","score":null,"sort":[1679511909000]},"guestAuthors":[],"slug":"spie-one-tdk-bay-area-graffiti-history-hip-hop","title":"‘Tax Dollars Kill’: Spie One’s Decades of Bay Area Graffiti Activism","publishDate":1679511909,"format":"standard","headTitle":"‘Tax Dollars Kill’: Spie One’s Decades of Bay Area Graffiti Activism | KQED","labelTerm":{},"content":"\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>[dropcap]T[/dropcap]he name Spie One has resonated in the Bay Area for nearly 40 years. The prolific graffiti artist, muralist and artivist may be less famous than his former painting partner, the late Mike “Dream” Francisco, but Spie is no less legendary. A mainstay of the TDK Collective, Irie Posse and FC — all with gravitas and legacy in the underground art world — Spie has been both observer and participant throughout the most dynamic eras in \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>.\u003c/p>\n\u003cp>But who is Spie? His \u003cem>nom de guerre\u003c/em> evokes subterfuge, counter-intelligence, covertness. Indeed, maintaining anonymity was imperative at the beginning of Spie’s career, during the formative stages of Bay Area graffiti itself.\u003c/p>\n\u003cp>Over the years, though, Spie evolved into a well-known force bridging activism and visual art in the streets. In recent years, he’s become an accomplished muralist working in different mediums, as well as a teacher, mentor and leader by example.\u003c/p>\n\u003cp>Those who know Spie well enough to call him a friend talk a lot about his character — his ethics, his dedication to his craft and his belief in collective liberation. They also mention his idiosyncrasies — the bugged-out sketches he randomly emails folks, his insistence on using 20-year-old paint from his garage instead of modern spray cans, his continued willingness to get up on impromptu street art missions even though he’s married with children and has a day job as a high school art teacher.[aside postid='arts_13924167,arts_13925931,arts_13924109' label='More on Bay Area Hip-Hop Culture']\u003c/p>\n\u003cp>The words “community” and “family” invariably come up in conversations with and about Spie. While he can claim status in a field where toys are destroyed and respect is earned one piece at a time, one of his defining characteristics is humility. His ethos, he says, is a simple “each one teach one” philosophy.\u003c/p>\n\u003cp>“You got knowledge, you got to pass it on,” Spie continues. “I got something to share. That’s why I chose to take my work to the next generation, the youth, and to help cultivate their imagination, their radical thoughts… Hip-hop combined with that is what has shaped my pathway.”\u003c/p>\n\u003ch2>I, Spie\u003c/h2>\n\u003cp>Spie grew up in a multiracial household in San Francisco in the 1970s, when the city was still identified with the remnants of 1960s counterculture. His artist mother and bus driver father were both activists whose shared worldview was shaped by revolutionary ideals. While his mom encouraged his artistic sensibilities, his dad let him pal along on bus rides and introduced him to eclectic, cutting-edge music, like Grandmaster Flash and the Furious Five’s “\u003ca href=\"https://www.youtube.com/watch?v=PobrSpMwKk4\">The Message\u003c/a>” — with bristling, Reagan-era sociopolitical commentary that made a lasting impression.\u003c/p>\n\u003cp>A tall, lanky youth, Spie was somewhat introverted, letting his artistic expressions manifest on notebooks and a dresser in his room. No one particular flashpoint led him to pursue graffiti. As a half-Asian kid, or \u003cem>hapa\u003c/em>, living in a diverse city, he was eager to carve out his own identity and find a community. The emergence of hip-hop and graffiti in the early ’80s gave him the sense of belonging and creative outlet he needed.\u003c/p>\n\u003cp>Spie’s first public attempt at a graffiti piece came in 1985, at the tennis courts of McAteer High School in San Francisco. It was a simple piece: a red and black rendering of his early moniker “Spy,” written boldly. Next to it were the words “one man bomber” — a testament to the fact that Spie painted it alone.\u003c/p>\n\u003cfigure id=\"attachment_13926652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s first piece at San Francisco’s McAteer High School, circa late 1983 or early 1984. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a 2017 episode of Adam Fujita’s popular \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-6-season-2-spie-tdk-fc-tmc-irie-possee/id1170942266?i=1000408431397\">graffiti podcast \u003cem>My Life In Letters\u003c/em>\u003c/a>, Spie explained how the piece brought him local notoriety; he soon became an active tagger on Muni buses, as well as in the Excelsior and the Mission. A Muni Fast Pass afforded him the opportunity to visit other neighborhoods and write his graffiti name across the city, and as he grew more prolific, so did his stylistic ability and reputation.\u003c/p>\n\u003cp>Young Spie wasn’t alone in this endeavor. Alongside him in the 1980s were hundreds, maybe thousands of restless youth finding their way within graffiti. The status quo called them vandals. But graffiti was \u003cem>their\u003c/em> counterculture, and a way to find meaning and identity in a society that didn’t always see or hear them. [pullquote size='large' citation='Spie']‘I got something to share. That’s why I chose to take my work to the next generation, the youth, and to help cultivate their imagination, their radical thoughts.’[/pullquote]\u003c/p>\n\u003cp>By 1982, graffiti had become known as one of hip-hop’s four elements. But it was also a standalone culture that preceded b-boying, MCing and DJ scratching. The \u003ca href=\"http://southsideprojections.org/2018/the-mural-movement-and-the-black-arts-movement/\">community mural movement\u003c/a> dated back to 1967 Chicago and aligned with the Black Arts Movement. Murals were already part of the cultural expression of \u003ca href=\"https://www.kcet.org/arts-culture/el-movimiento\">El Movimiento\u003c/a>, a.k.a. the Chicano Movement, a push for ethnic identity and empowerment. The \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a> originated in Philadelphia in the late ’60s before spreading to New York. And gang-affiliated tags had long permeated SF’s Mission and Excelsior districts.\u003c/p>\n\u003cp>These cultural precedents were integral to graffiti’s evolution. In the late 1970s and early ’80s, New York’s aerosol kings conquered the subways of the five boroughs. Even though the Metropolitan Transit Authority combatted their wild styles with “the buff,” word spread around the country with films like 1983’s \u003cem>Wild Style\u003c/em>, along with the documentary \u003cem>Style Wars\u003c/em>, which aired nationally on PBS the same year. Its broadcast on KQED \u003ca href=\"https://www.kqed.org/artschool/52/bay-area-graffiti-the-early-days\">catalyzed the Bay Area graffiti scene\u003c/a>. “There was this gravitational pull toward what was happening coming out of these films,” Spie recalls.\u003c/p>\n\u003ch2>One wall to rule them all\u003c/h2>\n\u003cp>By the mid-’80s, a series of walls in an unsecured downtown parking lot near Van Ness Avenue and Market Street became an unlikely ground zero for aspiring aerosol aficionados. A wall painted by Doug “Dug-1” Cunningham in 1986 entitled “Psycho City” became so iconic, the quasi-legal graffiti spot was soon named in its honor.\u003c/p>\n\u003cp>“When Dug hit it, it was a full-on burner,” Spie recalls, referring to a particularly impressive stylistic production that metaphorically burned competition. “It was like it was framed. It was very solidly panoramic, rectangular. It had characters.”\u003c/p>\n\u003cp>Afterwards, “[graffiti] just started to expand to all the neighboring walls, to the point where [Psycho City] became the place to go to paint,” Spie adds.\u003c/p>\n\u003cfigure id=\"attachment_13926653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-800x550.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986.jpg 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dug-1’s ‘Psycho City’ piece gave the legendary San Francisco graffiti spot its name in 1986. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graffiti artists from all over the Bay Area, and even other states and countries, found their way to Psycho City. Over time, the scene became more competitive as wall space became more limited. A piece painted one night might be painted over the next. Needless to say, the competition fueled innovation, as productions became bolder, bigger and more ambitious.\u003c/p>\n\u003cp>Spie recalls Psycho City remaining active up until November 1992, when a street festival featuring barbeque, DJs, and breakdancing by NYC’s Rock Steady Crew attracted police attention. In the ensuing confrontation, police vehicles were vandalized. The cops returned in greater numbers and began ticketing people. Soon after, “No Loitering” signs were put up, which allowed police to cite anyone in the area, effectively ending Psycho City’s reign. The irony, Spie says, is that instead of graffiti being contained within one centralized location, the police action “ended up pushing it to other parts of town.”\u003c/p>\n\u003cfigure id=\"attachment_13864059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-800x514.png\" alt='Mike \"Dream\" Francisco' width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1200x771.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1920x1234.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s late painting partner, Mike ‘Dream’ Francisco. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pieces of a Dream\u003c/h2>\n\u003cp>By 1987, Spie had earned a reputation as an up-and-coming artist with a versatile array of lettering styles. That reputation would only grow over time — and with the help of a legendary collaborator.\u003c/p>\n\u003cp>Over in Oakland, a Filipino American artist named Mike “Dream” Francisco had established himself as the king of the 23rd Yard, a popular graffiti destination. At the time, “I didn’t know Dream, but he was my hero,” Spie says.\u003c/p>\n\u003cp>In July 1987, Dream painted a massive mural at the 23rd Yard entitled “Best of Both Worlds.” The painting — which has since become the center spread of 2011’s \u003cem>\u003ca href=\"https://www.pbs.org/newshour/arts/the-history-of-american-graffiti-from-subway-car-to-gallery\">The History of American Graffiti\u003c/a>\u003c/em> — consisted of two elaborately detailed letterforms, one in the computer-esque “New Wave” style and the other in the abstract “Funk” style. In mastering both styles, Dream was sending a not-so-subtle message to fellow artists of unity instead of division.\u003c/p>\n\u003cp>Spie and some artist pals journeyed to Oakland to see the wall. “Everyone was talking about it,” he says. He and Dream became friends that day, although it would be another two years before they would begin collaborating in earnest.\u003c/p>\n\u003cp>Soon after, Phase 2’s widely respected magazine \u003cem>\u003ca href=\"https://rmc.library.cornell.edu/EAD/htmldocs/RMM08067.html\">International Graffiti Times\u003c/a>\u003c/em> put out a call for artist submissions. “Dream won that one and it got really popularized. And then everybody knew that the Bay Area had a scene going on… Dream put the Bay Area on the map as far as graff,” Spie says.\u003c/p>\n\u003cfigure id=\"attachment_13926667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926667 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-800x145.jpg\" alt=\"\" width=\"800\" height=\"145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-800x145.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1020x185.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-160x29.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-768x140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1536x279.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-2048x372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1920x349.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream’s 1987 ‘Best of Both Worlds’ wall in Oakland. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area graffiti was growing exponentially, “but it was frowned upon,” says Susan Cervantes of Mission-based arts non-profit \u003ca href=\"https://www.precitaeyes.org/\">Precita Eyes\u003c/a>. “If you had a marker you were considered a criminal. Youth were taking a lot of risk trying to do it.”\u003c/p>\n\u003cp>Still, the subculture continued to thrive. In August 1987, Henry Chalfant and James Prigoff’s book \u003cem>Spraycan Art\u003c/em> showcased local artists Crayone TWS, Del Phresh, Whisky and Daube alongside national and international talent.\u003c/p>\n\u003cp>“We were in love with [\u003cem>Spraycan Art\u003c/em>],” Spie says. He notes Prigoff, then a local resident, would sometimes invite Bay Area artists over to his house to view photographs of graffiti from other regions.\u003c/p>\n\u003cp>Cervantes, a community muralist since the ’70s, recognized that a new artistic movement was underway. Precita Eyes hosted a book release party for \u003cem>Spraycan Art\u003c/em>, and Cervantes curated a graffiti art competition at Mission Cultural Center, which brought her into contact with 16-year-old Spie, who knew some of the artists in the competition. After the event, Spie stayed in touch with Cervantes and the organization as they started to integrate graffiti’s aesthetic into their youth programming. They’ve been connected ever since.\u003c/p>\n\u003cp>In 1996, Spie and Dream participated in a panel during Precita Eyes’ first Urban Youth Arts Festival. “They discussed their experiences in the graffiti movement with all the young people who came to participate,” Cervantes says. “They were really good about the history of the graff movement and how important it was to show respect for each others’ work.” Their engagement with young people set a tone that Precita Eyes has followed for 27 years, with the annual festival as a linchpin of its programmatic activities.\u003c/p>\n\u003cp>“[Spie] is a really special person,” Cervantes says. “I think he’s very articulate not only in his visual expression, but also in activism around the issues that are important to him.”\u003c/p>\n\u003cfigure id=\"attachment_13926650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-800x528.jpg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mike “Dream” Francisco stands before his collaborative mural with Spie One, ‘Tax Dollars Kill,’ in 1995. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fighting the power\u003c/h2>\n\u003cp>Spie has always viewed activism as a generational legacy. He tells a story of how, during the height of the anti-apartheid movement, Berkeley hosted a “Spirit of Soweto” street festival on Telegraph Avenue. Revolution Books provided canvases for artists to paint politically-themed works. Coincidentally, Spie and Dream both brought sketches of \u003ca href=\"https://www.youtube.com/watch?v=luVpsM3YAgw\">Steve Biko\u003c/a>, a martyred South African activist.\u003c/p>\n\u003cp>Clearly, the two artists were aligned in their politics and artistic sensibilities, and Spie and Dream began working together shortly after. By that point, Spie had become a master of letterforms, characters and backgrounds. In archival photographs of their many collaborations, the pair appear evenly matched; a 1992 co-production at Psycho City literally rises above lesser tags with blazingly vibrant colors and impeccable aerosol calligraphy.\u003c/p>\n\u003cfigure id=\"attachment_13926654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-800x517.jpg\" alt=\"\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-1536x993.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative piece by Spie and Dream at Psycho City in 1992. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spie joined Dream’s crew TDK, influencing the collective’s aesthetic artistically and ideologically. The acronym originally stood for “Those Damn Kids,” but soon morphed into alternate meanings, among them “Teach Dem Knowledge.”\u003c/p>\n\u003cp>Francisco “Amend” Sanchez was still in high school when he met Dream, who was working at the Built to Last tattoo parlor, where aspiring young artists would often “hover” to watch the master at work. At the time, Sanchez had a different tag, but he switched to writing Amend after Dream told him, “Your name should represent. You should have some value to who you are.”\u003c/p>\n\u003cp>TDK, Amend says, isn’t just about the style of graffiti. “It’s also about just the culture within, an urban community that you want to represent and speak up for.”\u003c/p>\n\u003cp>According to Amend, Spie plays a unique role within the crew. “He doesn’t get enough credit on how influential he’s been in the Bay Area for multiple generations. As far as TDK goes, I think he’s the main guy who would push Mike Dream, to push the crew to go into that whole social justice point of view, speaking up for … people in the community.”\u003c/p>\n\u003cp>“This was the ‘Fight the Power’ era,” Spie recalls — a time when hip-hop often felt like a political movement, and rappers like Public Enemy and KRS-One pushed the envelope of sociopolitical commentary in pop culture. For Spie, it was a no-brainer to contribute visually, and inspire others to do the same. There were many causes to join: reproductive rights, opposing anti-immigration laws, protesting LAPD’s beating of Rodney King, pushing back against the Gulf War and resisting the 500-year anniversary of Columbus’ “discovery” of America in 1992.\u003c/p>\n\u003cp>“It was a great time of awareness,” Spie says. “I was very much in a learning mode of being aware of the Native struggle and needing to [let people] know that we are occupying Native peoples’ territories.”\u003c/p>\n\u003cfigure id=\"attachment_13926719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-800x580.jpg\" alt=\"\" width=\"800\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-1536x1114.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy.jpg 1783w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s ‘Solidarity’ was commissioned by the Oakland Museum of California for the exhibition ‘Respect: Style and Wisdom of Hip-Hop’ in 2018. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>No justice, just us\u003c/h2>\n\u003cp>As political graffiti proliferated in the Bay Area, a January 1993 exhibition at Oakland’s Pro Arts gallery titled \u003cem>No Justice No Peace\u003c/em> became the first local gallery show to feature the artform. Eastside Arts Alliance co-founder Greg Morozumi organized it during the Rodney King protests, which raised profound questions about police accountability. The exhibition, Spie says, was a “proverbial middle finger” against the system.\u003c/p>\n\u003cp>To enter the gallery, attendees had to walk over an American flag. “That was the welcome mat,” Spie says. Inside, viewers were greeted by paintings by Spie, Dream, Krash, Dug-1 and Refa One — most of which questioned the authority of law enforcement while reinforcing community resilience. Spie and Dream’s “No Justice” paid tribute to Jesse “Plan-B” Hall, an \u003ca href=\"https://youtu.be/7-NYa6SDNP8\">emerging rapper who was murdered in a still-unsolved drive-by shooting\u003c/a> in Oakland’s Sobrante Park. Juxtaposed with a Krash painting of a porcine-faced police officer pointing a gun, the piece addressed the emotional toll of inner-city violence.\u003c/p>\n\u003cfigure id=\"attachment_13926659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-800x554.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-1536x1063.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look inside the ‘No Justice, No Peace’ exhibition at ProArts in 1993. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1994, Dream and Spie painted an on-stage backdrop for KMEL’s annual Summer Jam concert. The show, headlined by Patti LaBelle, also featured locals E-40, Rappin’ 4-Tay, Tony! Toni! Toné! and A Lighter Shade of Brown, along with Public Enemy, OutKast and Queen Latifah. The backdrop proved that the duo weren’t always incendiary, with colorful letters spelling out “Respect” along with the message “peace follows.”\u003c/p>\n\u003cp>In 1995, Spie and Dream collaborated on one of their most unflinching murals: “Tax Dollars Kill.” The names of the artists appeared in typical graffiti wildstyle fashion; above them was a depiction of lightning striking the U.S. Capitol building. The symbolism was inescapable, especially because the mural’s title was rendered boldly above the signatures in white lettering, like a masthead.\u003c/p>\n\u003cp>Throughout their association, Spie and Dream would “always try to bring some kind of message … something poetic to be a part of what people were reading, as far as the painting goes. And that just kind of kept manifesting.”\u003c/p>\n\u003cfigure id=\"attachment_13926708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMG_6410-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of a 1994 edition of the \u003ci>San Francisco Chronicle\u003c/i> saved by Spie One, showing Patti Labelle performing in front of his collaborative mural with Mike “Dream” Francisco. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to political influence, artist Cece Carpio, who calls Spie a mentor, maintains that he helped establish a Bay Area-identified lettering style. In the pre-internet days, she explains, graffiti was less ubiquitous and regions were often associated with specific styles. “Back then, the Bay Area letters got kind of curvy, just stylized lettering. I actually believe that’s something that the Bay Area started, and Spie was one of the pioneers who did that.”\u003c/p>\n\u003ch2>A controversial mural with a message\u003c/h2>\n\u003cp>While enrolled as an undergrad at San Francisco State University in 1996, Spie painted his first work with acrylic paint and brushes: a portrait of Malcolm X to commemorate the \u003ca href=\"https://www.kqed.org/bayareahiphop/timeline#third-world-liberation-front-paves-the-way-for-black-and-brown-unity\">1968 Third World Liberation Front student strike\u003c/a>, which resulted in the creation of one of the country’s first ethnic studies departments. Working in the mode of a traditional painter caused some apprehension and soul-searching for Spie.\u003c/p>\n\u003cp>“It was always just this back-and-forth around, ‘Are you staying true to this art form? Are you trying to do that other established thing that other people already consider art?’” he recalls. “That was something that I struggled with a lot of those years. But I think the Malcolm X piece really helped me to open up my own personal arts avenues much wider.”\u003c/p>\n\u003cp>Although the mural’s unveiling was a success (Spie got to meet Malcolm’s widow, Betty Shabazz, who came out for the event), the project had a long and controversial backstory.\u003c/p>\n\u003cp>An earlier version of the mural, painted by Oakland artist \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\">Refa One\u003c/a>, included a border with dollar bills, a burning American flag, and a Star of David. Needless to say, this did not go over well with the university, whose spokesperson \u003ca href=\"https://www.nytimes.com/1994/05/27/us/san-francisco-state-destroys-malcolm-x-mural-after-furor.html\">called the piece “hateful” in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>\u003c/a>. [ad fullwidth]\u003c/p>\n\u003cp>The school administration ordered the mural to be covered up, but a group of students reclaimed it with a bucket of water and soap, and camped out in front of the mural to protect it from further harm. In response, the school brought in a tactical unit in riot gear, aided by the SFPD, Spie recalls. Eventually, the mural was sandblasted over. “It was like they were assassinating Malcolm twice,” Spie says.\u003c/p>\n\u003cp>Two years later, the university put out another call for artists, and Spie was selected. Facing pressure from student activists, the school administration asked him to work with a Black artist, Kamau Ayubbi, a friend he knew from the 23rd Yard. The completed mural, still visible today, features two portraits of Malcolm X, with the African continent surrounding the United States, painted in black, in the background. It also includes a Malcolm X quote: “Our objective is complete freedom, justice, and equality By Any Means Necessary.”\u003c/p>\n\u003cfigure id=\"attachment_13926660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie and Kama Ayubbo’s 1996 Malcolm X mural at San Francisco State University. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rebel without a pause\u003c/h2>\n\u003cp>In 2000, the unthinkable happened: Mike Dream was murdered in West Oakland. The still-unsolved killing deprived the Bay Area of its most legendary graffiti artist. “It was a devastating blow when he left this world. … So much of my own kind of self-actualization came through his guidance,” Spie \u003ca href=\"https://eastbayexpress.com/a-dream-continued-1/\">later told the \u003cem>East Bay Express\u003c/em>\u003c/a>. Spie and the TDK crew have kept Dream alive and in their hearts for the past 23 years, organizing a series of annual “Dream Day” events in Oakland \u003ca href=\"https://hiphopandpolitics.com/tag/mike-dream/\">beginning in 2010\u003c/a>, benefitting Dream’s son Akil.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDp38sltic8\u003c/p>\n\u003cp>Rather than slow down, though, TDK remained active. Amend, Vogue and Stash all became widely known artists in their own right. Dream protege Marty Aranaydo, a.k.a. Meut TDK, a.k.a. DJ Willie Maze, furthered hip-hop activism through painting and as a member of socially conscious DJ collective Local 1200. Meanwhile, Spie soldiered on, earning a teaching credential and landing a job teaching art at a regional high school.\u003c/p>\n\u003cp>In the 2000s, a new generation of artist collectives emerged, building directly on Dream and Spie’s sociopolitical blueprint and the family values of TDK. \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle\u003c/a> member Carpio says Spie has gone out of his way to push her artistic efforts to the next level. And while \u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\">Carpio’s work stands on its own\u003c/a>, Spie’s influence reflects in themes of Indigenous advocacy, resilience and racial solidarity.\u003c/p>\n\u003cp>The two recently painted a commemorative project at UC Berkeley honoring the Third World Liberation Front. The project, which has yet to be installed, features vibrant portraits of revolutionary icons Richard Aoki, June Jordan, Lehman Brightman, Ron Takaki and LaNada War Jack. According to Carpio, “what makes [Spie’s art] different in comparison to a lot of other graffiti and street art is his accountability to the movement and his accountability to the community.”\u003c/p>\n\u003cfigure id=\"attachment_13926661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-800x816.jpg\" alt=\"\" width=\"800\" height=\"816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-800x816.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1020x1040.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-768x783.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1506x1536.jpg 1506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1920x1958.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall.jpg 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2014’s ‘Key Tree,’ Spie’s contribution to Oakland’s Palestine Solidarity Wall, visualizes liberation of oppressed peoples. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spie has painted in New York, Los Angeles, Jamaica, Puerto Rico, Hawaii, Cuba, Costa Rica, Mexico and Portugal. Still, some of his most memorable work has been local. In 2007, he, Mike Ramos and H.O.M.E.Y. \u003ca href=\"https://digitalstories.famsf.org/teo/#teotihuacan-in-san-francisco\">painted\u003c/a> the mythical Aztec Feathered Serpent in the Mission. In 2014, he was one of 12 muralists who contributed to the “\u003ca href=\"https://artforces.org/projects/murals/usa/oakland-palestine-solidarity-mural/\">Oakland Palestine Solidarity Mural\u003c/a>” in Uptown.\u003c/p>\n\u003cp>In 2018, he manifested a solidarity-themed mural as part of the Oakland Museum’s first-ever hip-hop exhibit, and a ruby-throated hummingbird for environmental justice organization PODER. During the pandemic, he and several family members volunteered to paint the exterior of the Precita Eyes building. In 2021, during the George Floyd protests, he was one of the first artists to turn downtown Oakland into an outdoor art gallery. And in 2022, he painted a work entitled “\u003ca href=\"https://www.artspanart.org/eric-norberg-eai-summer-2022\">Serve the People\u003c/a>” on the window of Casa De Apoyo, a transitional housing resource center in the Excelsior.\u003c/p>\n\u003cp>As he’s become a more accomplished muralist, Spie has stayed true to his roots by including elements of graffiti even when working with other mediums. “I can remember that he started using acrylic paint with a brush to block in everything, and then he would do all the fine effects and details with the aerosol,” Cervantes says. “And that’s kind of what our youth arts program still does today.”\u003c/p>\n\u003cp>Throughout his storied career, Spie says he “always chose the side of the earth, the subjected and the oppressed. And, you know, what they like to say: the voice of the voiceless.”\u003c/p>\n\u003cfigure id=\"attachment_13926662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie and Cece Carpio collaborated on a tribute to the Third World Liberation Front and other revolutionary activists. Their work will be installed at UC Berkeley at a later date. \u003ccite>(Cece Carpio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TDK: The Dream Kontinues\u003c/h2>\n\u003cp>Spie can recount descriptive accounts of protests from decades past, but when asked about future projects, he simply sends over a link to YBCA’s recent “YBCA 100” celebration, with a visual art display by TDK Collective.\u003c/p>\n\u003cp>At the event, Spie held court on the venue’s second floor, dressed unassumingly in a Madow Futur jacket and \u003ca href=\"https://youtu.be/i5OX8pDTyow\">Bored Stiff\u003c/a> baseball hat. As he greeted attendees, including visual artist Agana and documentary filmmaker Eli Jacobs-Fantauzzi, a monitor played \u003cem>\u003ca href=\"https://www.kqed.org/artschool/52/bay-area-graffiti-the-early-days\">Bay Area Graffiti: The Early Years\u003c/a>\u003c/em>, followed by \u003cem>Style Wars\u003c/em>.\u003c/p>\n\u003cp>Art supplies were laid out on a table, along with various hardcover books on graffiti. Adjacent walls were decorated with TDK’s historical works: several Spie-Dream collaborations, including “Tax Dollars Kill,” and a tribute to the Rodney King uprisings that depicted an overturned police car, a colorful piece by Pak (R.I.P.), a tribute to Plan-B, and a late career piece by Dream. Several of Spie’s solo works were integrated, among them two vibrant “Spie” letterforms, linked by the word “vs.” (referencing the classic \u003cem>Mad\u003c/em> magazine cartoon “Spy vs. Spy”). The artist was clearly in his element.\u003c/p>\n\u003cp>Spie pulled out a binder he’d assembled, consisting of Dream’s pieces, sketches, quotes and airbrush work. The collection held serious gravitas; all that it needed to be included in a library alongside \u003cem>Spraycan Art\u003c/em>, \u003cem>Dondi White: Style Master General\u003c/em> and similar graffiti books was a hardcover binding and written essays.\u003c/p>\n\u003cp>Whatever the future holds – a comprehensive TDK retrospective, the publication of his Dream book or some other legacy project – Spie doesn’t reveal exact plans. It’s understandable, and completely in character, that after five decades as an artist, he seems to take satisfaction in maintaining his mystique, revealing only what he deems necessary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"Meet graffiti artist Spie One, the Bay Area legend whose work spans nearly every era of graffiti.","status":"publish","parent":0,"modified":1705005715,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":65,"wordCount":4463},"headData":{"title":"Spie One's Bay Area Graffiti Activism | KQED","description":"Meet graffiti artist Spie One, the Bay Area legend whose work spans nearly every era of graffiti.","ogTitle":"Spie One’s Decades of Bay Area Graffiti Activism","ogDescription":"","ogImgId":"arts_13926829","twTitle":"Spie One’s Decades of Bay Area Graffiti Activism","twDescription":"","twImgId":"arts_13926829","socialTitle":"Spie One's Bay Area Graffiti Activism %%page%% %%sep%% KQED"},"source":"That's My Word","sourceUrl":"https://www.kqed.org/bayareahiphop","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>Editor’s note:\u003c/i>\u003c/b>\u003ci> This story is part of\u003c/i>\u003ca href=\"http://kqed.org/bayareahiphop\"> That’s My Word\u003c/a>\u003ci>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>, with new content dropping all throughout 2023.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he name Spie One has resonated in the Bay Area for nearly 40 years. The prolific graffiti artist, muralist and artivist may be less famous than his former painting partner, the late Mike “Dream” Francisco, but Spie is no less legendary. A mainstay of the TDK Collective, Irie Posse and FC — all with gravitas and legacy in the underground art world — Spie has been both observer and participant throughout the most dynamic eras in \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop history\u003c/a>.\u003c/p>\n\u003cp>But who is Spie? His \u003cem>nom de guerre\u003c/em> evokes subterfuge, counter-intelligence, covertness. Indeed, maintaining anonymity was imperative at the beginning of Spie’s career, during the formative stages of Bay Area graffiti itself.\u003c/p>\n\u003cp>Over the years, though, Spie evolved into a well-known force bridging activism and visual art in the streets. In recent years, he’s become an accomplished muralist working in different mediums, as well as a teacher, mentor and leader by example.\u003c/p>\n\u003cp>Those who know Spie well enough to call him a friend talk a lot about his character — his ethics, his dedication to his craft and his belief in collective liberation. They also mention his idiosyncrasies — the bugged-out sketches he randomly emails folks, his insistence on using 20-year-old paint from his garage instead of modern spray cans, his continued willingness to get up on impromptu street art missions even though he’s married with children and has a day job as a high school art teacher.\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13924167,arts_13925931,arts_13924109","label":"More on Bay Area Hip-Hop Culture "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The words “community” and “family” invariably come up in conversations with and about Spie. While he can claim status in a field where toys are destroyed and respect is earned one piece at a time, one of his defining characteristics is humility. His ethos, he says, is a simple “each one teach one” philosophy.\u003c/p>\n\u003cp>“You got knowledge, you got to pass it on,” Spie continues. “I got something to share. That’s why I chose to take my work to the next generation, the youth, and to help cultivate their imagination, their radical thoughts… Hip-hop combined with that is what has shaped my pathway.”\u003c/p>\n\u003ch2>I, Spie\u003c/h2>\n\u003cp>Spie grew up in a multiracial household in San Francisco in the 1970s, when the city was still identified with the remnants of 1960s counterculture. His artist mother and bus driver father were both activists whose shared worldview was shaped by revolutionary ideals. While his mom encouraged his artistic sensibilities, his dad let him pal along on bus rides and introduced him to eclectic, cutting-edge music, like Grandmaster Flash and the Furious Five’s “\u003ca href=\"https://www.youtube.com/watch?v=PobrSpMwKk4\">The Message\u003c/a>” — with bristling, Reagan-era sociopolitical commentary that made a lasting impression.\u003c/p>\n\u003cp>A tall, lanky youth, Spie was somewhat introverted, letting his artistic expressions manifest on notebooks and a dresser in his room. No one particular flashpoint led him to pursue graffiti. As a half-Asian kid, or \u003cem>hapa\u003c/em>, living in a diverse city, he was eager to carve out his own identity and find a community. The emergence of hip-hop and graffiti in the early ’80s gave him the sense of belonging and creative outlet he needed.\u003c/p>\n\u003cp>Spie’s first public attempt at a graffiti piece came in 1985, at the tennis courts of McAteer High School in San Francisco. It was a simple piece: a red and black rendering of his early moniker “Spy,” written boldly. Next to it were the words “one man bomber” — a testament to the fact that Spie painted it alone.\u003c/p>\n\u003cfigure id=\"attachment_13926652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926652\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Spy-McAteer-e1679434426890.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s first piece at San Francisco’s McAteer High School, circa late 1983 or early 1984. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a 2017 episode of Adam Fujita’s popular \u003ca href=\"https://podcasts.apple.com/us/podcast/episode-6-season-2-spie-tdk-fc-tmc-irie-possee/id1170942266?i=1000408431397\">graffiti podcast \u003cem>My Life In Letters\u003c/em>\u003c/a>, Spie explained how the piece brought him local notoriety; he soon became an active tagger on Muni buses, as well as in the Excelsior and the Mission. A Muni Fast Pass afforded him the opportunity to visit other neighborhoods and write his graffiti name across the city, and as he grew more prolific, so did his stylistic ability and reputation.\u003c/p>\n\u003cp>Young Spie wasn’t alone in this endeavor. Alongside him in the 1980s were hundreds, maybe thousands of restless youth finding their way within graffiti. The status quo called them vandals. But graffiti was \u003cem>their\u003c/em> counterculture, and a way to find meaning and identity in a society that didn’t always see or hear them. \u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"‘I got something to share. That’s why I chose to take my work to the next generation, the youth, and to help cultivate their imagination, their radical thoughts.’","name":"pullquote","attributes":{"named":{"size":"large","citation":"Spie","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By 1982, graffiti had become known as one of hip-hop’s four elements. But it was also a standalone culture that preceded b-boying, MCing and DJ scratching. The \u003ca href=\"http://southsideprojections.org/2018/the-mural-movement-and-the-black-arts-movement/\">community mural movement\u003c/a> dated back to 1967 Chicago and aligned with the Black Arts Movement. Murals were already part of the cultural expression of \u003ca href=\"https://www.kcet.org/arts-culture/el-movimiento\">El Movimiento\u003c/a>, a.k.a. the Chicano Movement, a push for ethnic identity and empowerment. The \u003ca href=\"https://blogs.cuit.columbia.edu/ijt2106/moment-of-departure/the-emergence-of-modern-graffiti/\">modern graffiti movement\u003c/a> originated in Philadelphia in the late ’60s before spreading to New York. And gang-affiliated tags had long permeated SF’s Mission and Excelsior districts.\u003c/p>\n\u003cp>These cultural precedents were integral to graffiti’s evolution. In the late 1970s and early ’80s, New York’s aerosol kings conquered the subways of the five boroughs. Even though the Metropolitan Transit Authority combatted their wild styles with “the buff,” word spread around the country with films like 1983’s \u003cem>Wild Style\u003c/em>, along with the documentary \u003cem>Style Wars\u003c/em>, which aired nationally on PBS the same year. Its broadcast on KQED \u003ca href=\"https://www.kqed.org/artschool/52/bay-area-graffiti-the-early-days\">catalyzed the Bay Area graffiti scene\u003c/a>. “There was this gravitational pull toward what was happening coming out of these films,” Spie recalls.\u003c/p>\n\u003ch2>One wall to rule them all\u003c/h2>\n\u003cp>By the mid-’80s, a series of walls in an unsecured downtown parking lot near Van Ness Avenue and Market Street became an unlikely ground zero for aspiring aerosol aficionados. A wall painted by Doug “Dug-1” Cunningham in 1986 entitled “Psycho City” became so iconic, the quasi-legal graffiti spot was soon named in its honor.\u003c/p>\n\u003cp>“When Dug hit it, it was a full-on burner,” Spie recalls, referring to a particularly impressive stylistic production that metaphorically burned competition. “It was like it was framed. It was very solidly panoramic, rectangular. It had characters.”\u003c/p>\n\u003cp>Afterwards, “[graffiti] just started to expand to all the neighboring walls, to the point where [Psycho City] became the place to go to paint,” Spie adds.\u003c/p>\n\u003cfigure id=\"attachment_13926653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926653\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-800x550.jpg\" alt=\"\" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Psycho-City-DUG-TMF-1986.jpg 1011w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dug-1’s ‘Psycho City’ piece gave the legendary San Francisco graffiti spot its name in 1986. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Graffiti artists from all over the Bay Area, and even other states and countries, found their way to Psycho City. Over time, the scene became more competitive as wall space became more limited. A piece painted one night might be painted over the next. Needless to say, the competition fueled innovation, as productions became bolder, bigger and more ambitious.\u003c/p>\n\u003cp>Spie recalls Psycho City remaining active up until November 1992, when a street festival featuring barbeque, DJs, and breakdancing by NYC’s Rock Steady Crew attracted police attention. In the ensuing confrontation, police vehicles were vandalized. The cops returned in greater numbers and began ticketing people. Soon after, “No Loitering” signs were put up, which allowed police to cite anyone in the area, effectively ending Psycho City’s reign. The irony, Spie says, is that instead of graffiti being contained within one centralized location, the police action “ended up pushing it to other parts of town.”\u003c/p>\n\u003cfigure id=\"attachment_13864059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13864059\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-800x514.png\" alt='Mike \"Dream\" Francisco' width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1200x771.png 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM-1920x1234.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Screen-Shot-2019-08-14-at-7.32.36-AM.png 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s late painting partner, Mike ‘Dream’ Francisco. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Pieces of a Dream\u003c/h2>\n\u003cp>By 1987, Spie had earned a reputation as an up-and-coming artist with a versatile array of lettering styles. That reputation would only grow over time — and with the help of a legendary collaborator.\u003c/p>\n\u003cp>Over in Oakland, a Filipino American artist named Mike “Dream” Francisco had established himself as the king of the 23rd Yard, a popular graffiti destination. At the time, “I didn’t know Dream, but he was my hero,” Spie says.\u003c/p>\n\u003cp>In July 1987, Dream painted a massive mural at the 23rd Yard entitled “Best of Both Worlds.” The painting — which has since become the center spread of 2011’s \u003cem>\u003ca href=\"https://www.pbs.org/newshour/arts/the-history-of-american-graffiti-from-subway-car-to-gallery\">The History of American Graffiti\u003c/a>\u003c/em> — consisted of two elaborately detailed letterforms, one in the computer-esque “New Wave” style and the other in the abstract “Funk” style. In mastering both styles, Dream was sending a not-so-subtle message to fellow artists of unity instead of division.\u003c/p>\n\u003cp>Spie and some artist pals journeyed to Oakland to see the wall. “Everyone was talking about it,” he says. He and Dream became friends that day, although it would be another two years before they would begin collaborating in earnest.\u003c/p>\n\u003cp>Soon after, Phase 2’s widely respected magazine \u003cem>\u003ca href=\"https://rmc.library.cornell.edu/EAD/htmldocs/RMM08067.html\">International Graffiti Times\u003c/a>\u003c/em> put out a call for artist submissions. “Dream won that one and it got really popularized. And then everybody knew that the Bay Area had a scene going on… Dream put the Bay Area on the map as far as graff,” Spie says.\u003c/p>\n\u003cfigure id=\"attachment_13926667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13926667 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-800x145.jpg\" alt=\"\" width=\"800\" height=\"145\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-800x145.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1020x185.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-160x29.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-768x140.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1536x279.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-2048x372.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Dream-Best-of-Both-Worlds_Spie-One-1920x349.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dream’s 1987 ‘Best of Both Worlds’ wall in Oakland. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bay Area graffiti was growing exponentially, “but it was frowned upon,” says Susan Cervantes of Mission-based arts non-profit \u003ca href=\"https://www.precitaeyes.org/\">Precita Eyes\u003c/a>. “If you had a marker you were considered a criminal. Youth were taking a lot of risk trying to do it.”\u003c/p>\n\u003cp>Still, the subculture continued to thrive. In August 1987, Henry Chalfant and James Prigoff’s book \u003cem>Spraycan Art\u003c/em> showcased local artists Crayone TWS, Del Phresh, Whisky and Daube alongside national and international talent.\u003c/p>\n\u003cp>“We were in love with [\u003cem>Spraycan Art\u003c/em>],” Spie says. He notes Prigoff, then a local resident, would sometimes invite Bay Area artists over to his house to view photographs of graffiti from other regions.\u003c/p>\n\u003cp>Cervantes, a community muralist since the ’70s, recognized that a new artistic movement was underway. Precita Eyes hosted a book release party for \u003cem>Spraycan Art\u003c/em>, and Cervantes curated a graffiti art competition at Mission Cultural Center, which brought her into contact with 16-year-old Spie, who knew some of the artists in the competition. After the event, Spie stayed in touch with Cervantes and the organization as they started to integrate graffiti’s aesthetic into their youth programming. They’ve been connected ever since.\u003c/p>\n\u003cp>In 1996, Spie and Dream participated in a panel during Precita Eyes’ first Urban Youth Arts Festival. “They discussed their experiences in the graffiti movement with all the young people who came to participate,” Cervantes says. “They were really good about the history of the graff movement and how important it was to show respect for each others’ work.” Their engagement with young people set a tone that Precita Eyes has followed for 27 years, with the annual festival as a linchpin of its programmatic activities.\u003c/p>\n\u003cp>“[Spie] is a really special person,” Cervantes says. “I think he’s very articulate not only in his visual expression, but also in activism around the issues that are important to him.”\u003c/p>\n\u003cfigure id=\"attachment_13926650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926650\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-800x528.jpg\" alt=\"\" width=\"800\" height=\"528\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-800x528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-1020x673.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878-1536x1013.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/TAXdollarsKILLportrait95-Final300dpi-e1679434266878.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mike “Dream” Francisco stands before his collaborative mural with Spie One, ‘Tax Dollars Kill,’ in 1995. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fighting the power\u003c/h2>\n\u003cp>Spie has always viewed activism as a generational legacy. He tells a story of how, during the height of the anti-apartheid movement, Berkeley hosted a “Spirit of Soweto” street festival on Telegraph Avenue. Revolution Books provided canvases for artists to paint politically-themed works. Coincidentally, Spie and Dream both brought sketches of \u003ca href=\"https://www.youtube.com/watch?v=luVpsM3YAgw\">Steve Biko\u003c/a>, a martyred South African activist.\u003c/p>\n\u003cp>Clearly, the two artists were aligned in their politics and artistic sensibilities, and Spie and Dream began working together shortly after. By that point, Spie had become a master of letterforms, characters and backgrounds. In archival photographs of their many collaborations, the pair appear evenly matched; a 1992 co-production at Psycho City literally rises above lesser tags with blazingly vibrant colors and impeccable aerosol calligraphy.\u003c/p>\n\u003cfigure id=\"attachment_13926654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926654\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-800x517.jpg\" alt=\"\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-1020x659.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-768x496.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi-1536x993.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spiedream@psycho11_92-300dpi.jpg 1685w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A collaborative piece by Spie and Dream at Psycho City in 1992. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spie joined Dream’s crew TDK, influencing the collective’s aesthetic artistically and ideologically. The acronym originally stood for “Those Damn Kids,” but soon morphed into alternate meanings, among them “Teach Dem Knowledge.”\u003c/p>\n\u003cp>Francisco “Amend” Sanchez was still in high school when he met Dream, who was working at the Built to Last tattoo parlor, where aspiring young artists would often “hover” to watch the master at work. At the time, Sanchez had a different tag, but he switched to writing Amend after Dream told him, “Your name should represent. You should have some value to who you are.”\u003c/p>\n\u003cp>TDK, Amend says, isn’t just about the style of graffiti. “It’s also about just the culture within, an urban community that you want to represent and speak up for.”\u003c/p>\n\u003cp>According to Amend, Spie plays a unique role within the crew. “He doesn’t get enough credit on how influential he’s been in the Bay Area for multiple generations. As far as TDK goes, I think he’s the main guy who would push Mike Dream, to push the crew to go into that whole social justice point of view, speaking up for … people in the community.”\u003c/p>\n\u003cp>“This was the ‘Fight the Power’ era,” Spie recalls — a time when hip-hop often felt like a political movement, and rappers like Public Enemy and KRS-One pushed the envelope of sociopolitical commentary in pop culture. For Spie, it was a no-brainer to contribute visually, and inspire others to do the same. There were many causes to join: reproductive rights, opposing anti-immigration laws, protesting LAPD’s beating of Rodney King, pushing back against the Gulf War and resisting the 500-year anniversary of Columbus’ “discovery” of America in 1992.\u003c/p>\n\u003cp>“It was a great time of awareness,” Spie says. “I was very much in a learning mode of being aware of the Native struggle and needing to [let people] know that we are occupying Native peoples’ territories.”\u003c/p>\n\u003cfigure id=\"attachment_13926719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926719\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-800x580.jpg\" alt=\"\" width=\"800\" height=\"580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-800x580.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-1020x740.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-768x557.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy-1536x1114.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-2018-oakland-museum-solidarity-copy.jpg 1783w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie’s ‘Solidarity’ was commissioned by the Oakland Museum of California for the exhibition ‘Respect: Style and Wisdom of Hip-Hop’ in 2018. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>No justice, just us\u003c/h2>\n\u003cp>As political graffiti proliferated in the Bay Area, a January 1993 exhibition at Oakland’s Pro Arts gallery titled \u003cem>No Justice No Peace\u003c/em> became the first local gallery show to feature the artform. Eastside Arts Alliance co-founder Greg Morozumi organized it during the Rodney King protests, which raised profound questions about police accountability. The exhibition, Spie says, was a “proverbial middle finger” against the system.\u003c/p>\n\u003cp>To enter the gallery, attendees had to walk over an American flag. “That was the welcome mat,” Spie says. Inside, viewers were greeted by paintings by Spie, Dream, Krash, Dug-1 and Refa One — most of which questioned the authority of law enforcement while reinforcing community resilience. Spie and Dream’s “No Justice” paid tribute to Jesse “Plan-B” Hall, an \u003ca href=\"https://youtu.be/7-NYa6SDNP8\">emerging rapper who was murdered in a still-unsolved drive-by shooting\u003c/a> in Oakland’s Sobrante Park. Juxtaposed with a Krash painting of a porcine-faced police officer pointing a gun, the piece addressed the emotional toll of inner-city violence.\u003c/p>\n\u003cfigure id=\"attachment_13926659\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926659\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-800x554.jpg\" alt=\"\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-800x554.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-1020x706.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-768x532.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93-1536x1063.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/noJUSTICEcolorEnhanced93.jpg 1712w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A look inside the ‘No Justice, No Peace’ exhibition at ProArts in 1993. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1994, Dream and Spie painted an on-stage backdrop for KMEL’s annual Summer Jam concert. The show, headlined by Patti LaBelle, also featured locals E-40, Rappin’ 4-Tay, Tony! Toni! Toné! and A Lighter Shade of Brown, along with Public Enemy, OutKast and Queen Latifah. The backdrop proved that the duo weren’t always incendiary, with colorful letters spelling out “Respect” along with the message “peace follows.”\u003c/p>\n\u003cp>In 1995, Spie and Dream collaborated on one of their most unflinching murals: “Tax Dollars Kill.” The names of the artists appeared in typical graffiti wildstyle fashion; above them was a depiction of lightning striking the U.S. Capitol building. The symbolism was inescapable, especially because the mural’s title was rendered boldly above the signatures in white lettering, like a masthead.\u003c/p>\n\u003cp>Throughout their association, Spie and Dream would “always try to bring some kind of message … something poetic to be a part of what people were reading, as far as the painting goes. And that just kind of kept manifesting.”\u003c/p>\n\u003cfigure id=\"attachment_13926708\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926708\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/IMG_6410-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/IMG_6410.jpg 1224w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A copy of a 1994 edition of the \u003ci>San Francisco Chronicle\u003c/i> saved by Spie One, showing Patti Labelle performing in front of his collaborative mural with Mike “Dream” Francisco. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to political influence, artist Cece Carpio, who calls Spie a mentor, maintains that he helped establish a Bay Area-identified lettering style. In the pre-internet days, she explains, graffiti was less ubiquitous and regions were often associated with specific styles. “Back then, the Bay Area letters got kind of curvy, just stylized lettering. I actually believe that’s something that the Bay Area started, and Spie was one of the pioneers who did that.”\u003c/p>\n\u003ch2>A controversial mural with a message\u003c/h2>\n\u003cp>While enrolled as an undergrad at San Francisco State University in 1996, Spie painted his first work with acrylic paint and brushes: a portrait of Malcolm X to commemorate the \u003ca href=\"https://www.kqed.org/bayareahiphop/timeline#third-world-liberation-front-paves-the-way-for-black-and-brown-unity\">1968 Third World Liberation Front student strike\u003c/a>, which resulted in the creation of one of the country’s first ethnic studies departments. Working in the mode of a traditional painter caused some apprehension and soul-searching for Spie.\u003c/p>\n\u003cp>“It was always just this back-and-forth around, ‘Are you staying true to this art form? Are you trying to do that other established thing that other people already consider art?’” he recalls. “That was something that I struggled with a lot of those years. But I think the Malcolm X piece really helped me to open up my own personal arts avenues much wider.”\u003c/p>\n\u003cp>Although the mural’s unveiling was a success (Spie got to meet Malcolm’s widow, Betty Shabazz, who came out for the event), the project had a long and controversial backstory.\u003c/p>\n\u003cp>An earlier version of the mural, painted by Oakland artist \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\">Refa One\u003c/a>, included a border with dollar bills, a burning American flag, and a Star of David. Needless to say, this did not go over well with the university, whose spokesperson \u003ca href=\"https://www.nytimes.com/1994/05/27/us/san-francisco-state-destroys-malcolm-x-mural-after-furor.html\">called the piece “hateful” in \u003cem>The\u003c/em> \u003cem>New York Times\u003c/em>\u003c/a>. \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 school administration ordered the mural to be covered up, but a group of students reclaimed it with a bucket of water and soap, and camped out in front of the mural to protect it from further harm. In response, the school brought in a tactical unit in riot gear, aided by the SFPD, Spie recalls. Eventually, the mural was sandblasted over. “It was like they were assassinating Malcolm twice,” Spie says.\u003c/p>\n\u003cp>Two years later, the university put out another call for artists, and Spie was selected. Facing pressure from student activists, the school administration asked him to work with a Black artist, Kamau Ayubbi, a friend he knew from the 23rd Yard. The completed mural, still visible today, features two portraits of Malcolm X, with the African continent surrounding the United States, painted in black, in the background. It also includes a Malcolm X quote: “Our objective is complete freedom, justice, and equality By Any Means Necessary.”\u003c/p>\n\u003cfigure id=\"attachment_13926660\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926660\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-800x570.jpg\" alt=\"\" width=\"800\" height=\"570\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-800x570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1020x727.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1536x1095.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-2048x1460.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Malcolm-X-sfsu-1996-1920x1369.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie and Kama Ayubbo’s 1996 Malcolm X mural at San Francisco State University. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rebel without a pause\u003c/h2>\n\u003cp>In 2000, the unthinkable happened: Mike Dream was murdered in West Oakland. The still-unsolved killing deprived the Bay Area of its most legendary graffiti artist. “It was a devastating blow when he left this world. … So much of my own kind of self-actualization came through his guidance,” Spie \u003ca href=\"https://eastbayexpress.com/a-dream-continued-1/\">later told the \u003cem>East Bay Express\u003c/em>\u003c/a>. Spie and the TDK crew have kept Dream alive and in their hearts for the past 23 years, organizing a series of annual “Dream Day” events in Oakland \u003ca href=\"https://hiphopandpolitics.com/tag/mike-dream/\">beginning in 2010\u003c/a>, benefitting Dream’s son Akil.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cDp38sltic8'\n title='//www.youtube.com/embed/cDp38sltic8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Rather than slow down, though, TDK remained active. Amend, Vogue and Stash all became widely known artists in their own right. Dream protege Marty Aranaydo, a.k.a. Meut TDK, a.k.a. DJ Willie Maze, furthered hip-hop activism through painting and as a member of socially conscious DJ collective Local 1200. Meanwhile, Spie soldiered on, earning a teaching credential and landing a job teaching art at a regional high school.\u003c/p>\n\u003cp>In the 2000s, a new generation of artist collectives emerged, building directly on Dream and Spie’s sociopolitical blueprint and the family values of TDK. \u003ca href=\"https://www.trustyourstruggle.org/\">Trust Your Struggle\u003c/a> member Carpio says Spie has gone out of his way to push her artistic efforts to the next level. And while \u003ca href=\"https://www.kqed.org/arts/13868732/cece-carpio\">Carpio’s work stands on its own\u003c/a>, Spie’s influence reflects in themes of Indigenous advocacy, resilience and racial solidarity.\u003c/p>\n\u003cp>The two recently painted a commemorative project at UC Berkeley honoring the Third World Liberation Front. The project, which has yet to be installed, features vibrant portraits of revolutionary icons Richard Aoki, June Jordan, Lehman Brightman, Ron Takaki and LaNada War Jack. According to Carpio, “what makes [Spie’s art] different in comparison to a lot of other graffiti and street art is his accountability to the movement and his accountability to the community.”\u003c/p>\n\u003cfigure id=\"attachment_13926661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-800x816.jpg\" alt=\"\" width=\"800\" height=\"816\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-800x816.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1020x1040.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-160x163.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-768x783.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1506x1536.jpg 1506w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall-1920x1958.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/spie-key-tree-palestine-liberation-wall.jpg 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2014’s ‘Key Tree,’ Spie’s contribution to Oakland’s Palestine Solidarity Wall, visualizes liberation of oppressed peoples. \u003ccite>(Spie One)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Spie has painted in New York, Los Angeles, Jamaica, Puerto Rico, Hawaii, Cuba, Costa Rica, Mexico and Portugal. Still, some of his most memorable work has been local. In 2007, he, Mike Ramos and H.O.M.E.Y. \u003ca href=\"https://digitalstories.famsf.org/teo/#teotihuacan-in-san-francisco\">painted\u003c/a> the mythical Aztec Feathered Serpent in the Mission. In 2014, he was one of 12 muralists who contributed to the “\u003ca href=\"https://artforces.org/projects/murals/usa/oakland-palestine-solidarity-mural/\">Oakland Palestine Solidarity Mural\u003c/a>” in Uptown.\u003c/p>\n\u003cp>In 2018, he manifested a solidarity-themed mural as part of the Oakland Museum’s first-ever hip-hop exhibit, and a ruby-throated hummingbird for environmental justice organization PODER. During the pandemic, he and several family members volunteered to paint the exterior of the Precita Eyes building. In 2021, during the George Floyd protests, he was one of the first artists to turn downtown Oakland into an outdoor art gallery. And in 2022, he painted a work entitled “\u003ca href=\"https://www.artspanart.org/eric-norberg-eai-summer-2022\">Serve the People\u003c/a>” on the window of Casa De Apoyo, a transitional housing resource center in the Excelsior.\u003c/p>\n\u003cp>As he’s become a more accomplished muralist, Spie has stayed true to his roots by including elements of graffiti even when working with other mediums. “I can remember that he started using acrylic paint with a brush to block in everything, and then he would do all the fine effects and details with the aerosol,” Cervantes says. “And that’s kind of what our youth arts program still does today.”\u003c/p>\n\u003cp>Throughout his storied career, Spie says he “always chose the side of the earth, the subjected and the oppressed. And, you know, what they like to say: the voice of the voiceless.”\u003c/p>\n\u003cfigure id=\"attachment_13926662\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926662\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/3f.-twLF_whole_perspective-scaled-e1679437175726.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Spie and Cece Carpio collaborated on a tribute to the Third World Liberation Front and other revolutionary activists. Their work will be installed at UC Berkeley at a later date. \u003ccite>(Cece Carpio)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>TDK: The Dream Kontinues\u003c/h2>\n\u003cp>Spie can recount descriptive accounts of protests from decades past, but when asked about future projects, he simply sends over a link to YBCA’s recent “YBCA 100” celebration, with a visual art display by TDK Collective.\u003c/p>\n\u003cp>At the event, Spie held court on the venue’s second floor, dressed unassumingly in a Madow Futur jacket and \u003ca href=\"https://youtu.be/i5OX8pDTyow\">Bored Stiff\u003c/a> baseball hat. As he greeted attendees, including visual artist Agana and documentary filmmaker Eli Jacobs-Fantauzzi, a monitor played \u003cem>\u003ca href=\"https://www.kqed.org/artschool/52/bay-area-graffiti-the-early-days\">Bay Area Graffiti: The Early Years\u003c/a>\u003c/em>, followed by \u003cem>Style Wars\u003c/em>.\u003c/p>\n\u003cp>Art supplies were laid out on a table, along with various hardcover books on graffiti. Adjacent walls were decorated with TDK’s historical works: several Spie-Dream collaborations, including “Tax Dollars Kill,” and a tribute to the Rodney King uprisings that depicted an overturned police car, a colorful piece by Pak (R.I.P.), a tribute to Plan-B, and a late career piece by Dream. Several of Spie’s solo works were integrated, among them two vibrant “Spie” letterforms, linked by the word “vs.” (referencing the classic \u003cem>Mad\u003c/em> magazine cartoon “Spy vs. Spy”). The artist was clearly in his element.\u003c/p>\n\u003cp>Spie pulled out a binder he’d assembled, consisting of Dream’s pieces, sketches, quotes and airbrush work. The collection held serious gravitas; all that it needed to be included in a library alongside \u003cem>Spraycan Art\u003c/em>, \u003cem>Dondi White: Style Master General\u003c/em> and similar graffiti books was a hardcover binding and written essays.\u003c/p>\n\u003cp>Whatever the future holds – a comprehensive TDK retrospective, the publication of his Dream book or some other legacy project – Spie doesn’t reveal exact plans. It’s understandable, and completely in character, that after five decades as an artist, he seems to take satisfaction in maintaining his mystique, revealing only what he deems necessary.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13926619/spie-one-tdk-bay-area-graffiti-history-hip-hop","authors":["11839"],"categories":["arts_1","arts_69","arts_70"],"tags":["arts_1270","arts_10342","arts_903","arts_2907","arts_9510","arts_2908","arts_19347","arts_901"],"featImg":"arts_13926828","label":"source_arts_13926619"},"arts_13923399":{"type":"posts","id":"arts_13923399","meta":{"index":"posts_1591205157","site":"arts","id":"13923399","score":null,"sort":[1673295530000]},"guestAuthors":[],"slug":"honoring-dave-schubert-san-franciscos-wildest-street-photographer","title":"Honoring Dave Schubert, San Francisco’s Wildest Street Photographer","publishDate":1673295530,"format":"standard","headTitle":"Honoring Dave Schubert, San Francisco’s Wildest Street Photographer | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>On Friday morning, I got word that my favorite San Francisco photographer \u003ca href=\"https://www.instagram.com/daveschubertsf/\">Dave Schubert\u003c/a> had died suddenly. The long-time Mission District resident was discovered on Thursday, Jan. 5 by concerned friends at the 26th Street home Schubert lived in for two decades.\u003c/p>\n\u003cp>Schubert’s work had been a minor obsession of mine ever since 2005, when I first saw one of his photographs at a \u003ca href=\"https://www.kqed.org/arts/13936275/111-minna-30th-anniversary-show-review-jeremy-fish-alec-huxley-sam-flores-interview\">111 Minna\u003c/a> show. The photo in question — a chaotic 16th Street brawl involving seven people and a bicycle — has hung in my home ever since. It offers a perfect snapshot of Mission District nightlife as I knew it back then: a grimy, hedonistic community of bartenders, graffiti writers, skaters, punks and bike messengers.\u003c/p>\n\u003cfigure id=\"attachment_13923401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-800x1226.png\" alt=\"A cluster of seven people push and pull each other in a street fight. A woman lies on the ground underneath it all, a bicycle laying on the ground in front of her.\" width=\"800\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-800x1226.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-160x245.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-768x1177.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM.png 860w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Schubert captured this fight outside Delirium on 16th Street in 2003. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This underworld of smart-ass scrappers, non-stop taggers and street-fighting drunkards was a large part of why I fell in love with San Francisco in the first place. And Schubert documented all of it. Back then, in the late ’90s and early 2000s, it felt like there were no consequences for any amount of ill-advised behavior. If there \u003ci>was\u003c/i> trouble? Well, the story you told the next day was just that much better. In the 18 years since I first found Schubert’s work, no one has captured that chaos better than he did.\u003c/p>\n\u003cp>Schubert and I lived only a few blocks from each other in the Mission, so back in September 2022, I invited him out to lunch to talk about his work. He met me in the back of Old Jerusalem on Mission Street. In person, Schubert was sweet, polite, humble, and just a little wild-eyed. He told me right off the bat that he’d hit his head a lot over the years and showed me \u003ca href=\"https://www.instagram.com/p/CLDyx_BsECr/\">photos of him swollen and bleeding\u003c/a> to prove it. “Bloody head shots,” he called them. He had a whole collection.\u003c/p>\n\u003cfigure id=\"attachment_13923473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-800x979.png\" alt=\"A young man with blood on his forehead and cheek, with a large lump forming on the side of his face, looks blankly at the camera. \" width=\"800\" height=\"979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-800x979.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-1020x1248.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-160x196.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-768x940.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM.png 1056w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Schubert’s self-portraits, this one documenting the aftermath of a bicycle accident. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Schubert was also incredibly smart; a scholar about the history of photography and an easy conversationalist. We talked for longer than I expected that day about a wide array of topics. We talked about Schubert’s earliest photography inspirations: \u003ca href=\"https://en.wikipedia.org/wiki/Bob_Richardson_(photographer)\">Bob Richardson\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Richard_Avedon\">Richard Avedon\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Robert_Frank\">Robert Frank\u003c/a>. We talked about the history of the Mission. We talked about dead friends, in particular \u003ca href=\"https://www.instagram.com/p/Cf0ZVR9u0DI/\">his best friend Dash Snow\u003c/a>, who Schubert memorialized with \u003ca href=\"https://panopticonpress.bigcartel.com/product/dash-i-miss-you-ap-edition\">a fanzine of photos\u003c/a> after Snow’s death in 2009.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Schubert moved to the city in 1995 after being awarded a scholarship to study photography at the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. Once he arrived, Schubert immersed himself in the Bay’s thriving skateboarding and graffiti scene. Back on the East Coast, he’d been a prolific skate videographer, primarily in Washington, D.C. On that September day, we talked about his more recent work for \u003ca href=\"https://www.skatedeluxe.com/en/gx1000-shop\">GX1000\u003c/a>, his friend’s skate company.\u003c/p>\n\u003cfigure id=\"attachment_13923413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-800x956.png\" alt=\"A man wearing blue jeans, flannel shirt and a chicken head mask perches on top of a graffitied bathroom stall, money falling from his hands.\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-800x956.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-160x191.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-768x918.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM.png 1014w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo taken at The Cock, a New York City gay bar. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best of all, we talked about the trouble he’d found himself in while taking photos of strangers doing illegal things — a habit Schubert had that reflected his audacious approach to his craft. He told me of one incident when a group of sex workers attacked him for taking a photo of them smoking crack in the Tenderloin. Mid-attack, Schubert told me, one of them began biting his finger. Hard.\u003c/p>\n\u003cp>“I had just watched a nature film with sharks that week though,” Schubert casually told me. “And it said if you’re attacked by a reef shark, don’t pull your hand out of its mouth because your flesh will tear. Instead, hit it in the throat so it will release you. So that’s what I did. That’s how I got the prostitute off my finger.”\u003c/p>\n\u003cp>Talking to Schubert, these kinds of stories weren’t unusual. They were simply how he lived his life: on the edge, always adjacent to trouble, illuminating the darkest sides of city living with his camera, so that the rest of the world might see it too.\u003c/p>\n\u003cfigure id=\"attachment_13923404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-800x517.png\" alt=\"A man stands casually wearing black clothing and an San Francisco 49ers baseball cap, while a woman casually tags a Muni bus in San Francisco. The bus doors are still open.\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-800x517.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-1020x659.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-1536x993.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM.png 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Every day acts of vandalism in SF, as captured by Dave Schubert. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He had a drive and passion for his work that is hard to find these days,” says Lindsay Mape, who first befriended Schubert in 1995. “I was studying painting at SFAI and he would sneak in with me and use the dark rooms all day long to print his film, while I painted in the studios downstairs. Then we would leave and go hang in the Mission or the TL all night, finding trouble, hanging with friends, laughing and chilling with my dog.\u003c/p>\n\u003cp>“He didn’t have a nasty bone in his body,” she remembers. “Genuinely the sweetest soul.”\u003c/p>\n\u003cp>Noah Lang of the San Francisco gallery \u003ca href=\"https://www.instagram.com/p/CnFgYPMS43k/\">Electric Works\u003c/a>, who first befriended Schubert in 1999, has similar memories of the photographer. “Even in his darkest times, he never had any anger,” Lang says. “He was an unstoppable force of positivity. He was very generous. He was interested in sharing everything that he had. He would have 17-year-old skaters email him saying they liked his work and he would just send them [a print]. He was not looking for fame or fortune ever. He just wanted enough money to live and make his books and that was pretty much it.\u003c/p>\n\u003cp>“I feel like street photographers are born noticers,” Lang continues. “They notice all the things that we see but don’t find remarkable, and then they synthesize it. Dave was a really great noticer and synthesizer of the coral reef around him. He knew everything about it. He could see it all and he would make a photo of it and turn normalcy into poetry in 1/60 of a second.”\u003c/p>\n\u003cfigure id=\"attachment_13923472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-800x512.png\" alt=\"\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM.png 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A very young Stevie Williams (skateboarder) poses between friends at Pulaski Park in Washington, D.C., 1993. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tributes poured in for Schubert over the weekend as news of his untimely death spread.\u003c/p>\n\u003cp>Artist \u003ca href=\"https://www.instagram.com/steveespopowers/\">Steve Powers wrote on Instagram\u003c/a>: “I don’t know a better photographer that shot both skateboarding and graffiti as well as Dave did, but, as he would say about bragging, ‘Don’t tell it, show it’ … Dave Schubert didn’t take pictures, he took the time to love and to show the love.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.juxtapoz.com/news/photography/the-chaos-he-memorialized-rip-san-francisco-photography-legend-dave-schubert/\">Evan Pricco of \u003cem>Juxtapoz\u003c/em> wrote\u003c/a>: “It feels as if an era of San Francisco has passed with the news of the death of photographer, Dave Schubert. Many of my earliest memories of art, of underground culture, of life being fucking lived, was through the lens and eye of Dave Schubert. He was telling me the story of my home city without me even being conscious of it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Noah Lang and friends have set up a fundraising campaign to save and preserve Dave Schubert’s photographic archive. \u003ca href=\"https://www.gofundme.com/f/dave-schuberts-photographic-legacy?qid=93785caa04562f1ed1bf1235d03c5de5\" target=\"_blank\" rel=\"noopener noreferrer\">Details can be found on their GoFundMe page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>An exhibit of Schubert’s photography will be on display at San Francisco’s \u003ca href=\"https://etaletc.com/\">Et Al. Etc. Gallery\u003c/a> (2831 Mission Street) between July 29 and Aug. 18, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The underground legend, beloved by skaters, graffiti artists and San Francisco dirtbags, has died at the age of 49.","status":"publish","parent":0,"modified":1705005996,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":21,"wordCount":1246},"headData":{"title":"Honoring Dave Schubert, San Francisco’s Wildest Street Photographer | KQED","description":"The underground legend, beloved by skaters, graffiti artists and San Francisco dirtbags, has died at the age of 49.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"audioUrl":"https://traffic.omny.fm/d/clips/0af137ef-751e-4b19-a055-aaef00d2d578/ffca7e9f-6831-4[…]f-aaef00f5a073/98b418c4-9fbc-4c0e-a691-af8f0007282f/audio.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday morning, I got word that my favorite San Francisco photographer \u003ca href=\"https://www.instagram.com/daveschubertsf/\">Dave Schubert\u003c/a> had died suddenly. The long-time Mission District resident was discovered on Thursday, Jan. 5 by concerned friends at the 26th Street home Schubert lived in for two decades.\u003c/p>\n\u003cp>Schubert’s work had been a minor obsession of mine ever since 2005, when I first saw one of his photographs at a \u003ca href=\"https://www.kqed.org/arts/13936275/111-minna-30th-anniversary-show-review-jeremy-fish-alec-huxley-sam-flores-interview\">111 Minna\u003c/a> show. The photo in question — a chaotic 16th Street brawl involving seven people and a bicycle — has hung in my home ever since. It offers a perfect snapshot of Mission District nightlife as I knew it back then: a grimy, hedonistic community of bartenders, graffiti writers, skaters, punks and bike messengers.\u003c/p>\n\u003cfigure id=\"attachment_13923401\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923401\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-800x1226.png\" alt=\"A cluster of seven people push and pull each other in a street fight. A woman lies on the ground underneath it all, a bicycle laying on the ground in front of her.\" width=\"800\" height=\"1226\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-800x1226.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-160x245.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM-768x1177.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.57.33-AM.png 860w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dave Schubert captured this fight outside Delirium on 16th Street in 2003. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This underworld of smart-ass scrappers, non-stop taggers and street-fighting drunkards was a large part of why I fell in love with San Francisco in the first place. And Schubert documented all of it. Back then, in the late ’90s and early 2000s, it felt like there were no consequences for any amount of ill-advised behavior. If there \u003ci>was\u003c/i> trouble? Well, the story you told the next day was just that much better. In the 18 years since I first found Schubert’s work, no one has captured that chaos better than he did.\u003c/p>\n\u003cp>Schubert and I lived only a few blocks from each other in the Mission, so back in September 2022, I invited him out to lunch to talk about his work. He met me in the back of Old Jerusalem on Mission Street. In person, Schubert was sweet, polite, humble, and just a little wild-eyed. He told me right off the bat that he’d hit his head a lot over the years and showed me \u003ca href=\"https://www.instagram.com/p/CLDyx_BsECr/\">photos of him swollen and bleeding\u003c/a> to prove it. “Bloody head shots,” he called them. He had a whole collection.\u003c/p>\n\u003cfigure id=\"attachment_13923473\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923473\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-800x979.png\" alt=\"A young man with blood on his forehead and cheek, with a large lump forming on the side of his face, looks blankly at the camera. \" width=\"800\" height=\"979\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-800x979.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-1020x1248.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-160x196.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM-768x940.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.17.47-AM.png 1056w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of Schubert’s self-portraits, this one documenting the aftermath of a bicycle accident. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Schubert was also incredibly smart; a scholar about the history of photography and an easy conversationalist. We talked for longer than I expected that day about a wide array of topics. We talked about Schubert’s earliest photography inspirations: \u003ca href=\"https://en.wikipedia.org/wiki/Bob_Richardson_(photographer)\">Bob Richardson\u003c/a>, \u003ca href=\"https://en.wikipedia.org/wiki/Richard_Avedon\">Richard Avedon\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Robert_Frank\">Robert Frank\u003c/a>. We talked about the history of the Mission. We talked about dead friends, in particular \u003ca href=\"https://www.instagram.com/p/Cf0ZVR9u0DI/\">his best friend Dash Snow\u003c/a>, who Schubert memorialized with \u003ca href=\"https://panopticonpress.bigcartel.com/product/dash-i-miss-you-ap-edition\">a fanzine of photos\u003c/a> after Snow’s death in 2009.\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>Schubert moved to the city in 1995 after being awarded a scholarship to study photography at the \u003ca href=\"https://www.kqed.org/arts/tag/sfai\">San Francisco Art Institute\u003c/a>. Once he arrived, Schubert immersed himself in the Bay’s thriving skateboarding and graffiti scene. Back on the East Coast, he’d been a prolific skate videographer, primarily in Washington, D.C. On that September day, we talked about his more recent work for \u003ca href=\"https://www.skatedeluxe.com/en/gx1000-shop\">GX1000\u003c/a>, his friend’s skate company.\u003c/p>\n\u003cfigure id=\"attachment_13923413\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923413\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-800x956.png\" alt=\"A man wearing blue jeans, flannel shirt and a chicken head mask perches on top of a graffitied bathroom stall, money falling from his hands.\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-800x956.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-160x191.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM-768x918.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-4.10.30-PM.png 1014w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo taken at The Cock, a New York City gay bar. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Best of all, we talked about the trouble he’d found himself in while taking photos of strangers doing illegal things — a habit Schubert had that reflected his audacious approach to his craft. He told me of one incident when a group of sex workers attacked him for taking a photo of them smoking crack in the Tenderloin. Mid-attack, Schubert told me, one of them began biting his finger. Hard.\u003c/p>\n\u003cp>“I had just watched a nature film with sharks that week though,” Schubert casually told me. “And it said if you’re attacked by a reef shark, don’t pull your hand out of its mouth because your flesh will tear. Instead, hit it in the throat so it will release you. So that’s what I did. That’s how I got the prostitute off my finger.”\u003c/p>\n\u003cp>Talking to Schubert, these kinds of stories weren’t unusual. They were simply how he lived his life: on the edge, always adjacent to trouble, illuminating the darkest sides of city living with his camera, so that the rest of the world might see it too.\u003c/p>\n\u003cfigure id=\"attachment_13923404\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923404\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-800x517.png\" alt=\"A man stands casually wearing black clothing and an San Francisco 49ers baseball cap, while a woman casually tags a Muni bus in San Francisco. The bus doors are still open.\" width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-800x517.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-1020x659.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM-1536x993.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-06-at-11.55.41-AM.png 1550w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Every day acts of vandalism in SF, as captured by Dave Schubert. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He had a drive and passion for his work that is hard to find these days,” says Lindsay Mape, who first befriended Schubert in 1995. “I was studying painting at SFAI and he would sneak in with me and use the dark rooms all day long to print his film, while I painted in the studios downstairs. Then we would leave and go hang in the Mission or the TL all night, finding trouble, hanging with friends, laughing and chilling with my dog.\u003c/p>\n\u003cp>“He didn’t have a nasty bone in his body,” she remembers. “Genuinely the sweetest soul.”\u003c/p>\n\u003cp>Noah Lang of the San Francisco gallery \u003ca href=\"https://www.instagram.com/p/CnFgYPMS43k/\">Electric Works\u003c/a>, who first befriended Schubert in 1999, has similar memories of the photographer. “Even in his darkest times, he never had any anger,” Lang says. “He was an unstoppable force of positivity. He was very generous. He was interested in sharing everything that he had. He would have 17-year-old skaters email him saying they liked his work and he would just send them [a print]. He was not looking for fame or fortune ever. He just wanted enough money to live and make his books and that was pretty much it.\u003c/p>\n\u003cp>“I feel like street photographers are born noticers,” Lang continues. “They notice all the things that we see but don’t find remarkable, and then they synthesize it. Dave was a really great noticer and synthesizer of the coral reef around him. He knew everything about it. He could see it all and he would make a photo of it and turn normalcy into poetry in 1/60 of a second.”\u003c/p>\n\u003cfigure id=\"attachment_13923472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-800x512.png\" alt=\"\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-800x512.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-1020x653.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-768x491.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM-1536x983.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Screen-Shot-2023-01-09-at-12.08.00-AM.png 1910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A very young Stevie Williams (skateboarder) poses between friends at Pulaski Park in Washington, D.C., 1993. \u003ccite>(Dave Schubert)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tributes poured in for Schubert over the weekend as news of his untimely death spread.\u003c/p>\n\u003cp>Artist \u003ca href=\"https://www.instagram.com/steveespopowers/\">Steve Powers wrote on Instagram\u003c/a>: “I don’t know a better photographer that shot both skateboarding and graffiti as well as Dave did, but, as he would say about bragging, ‘Don’t tell it, show it’ … Dave Schubert didn’t take pictures, he took the time to love and to show the love.”\u003c/p>\n\u003cp>\u003ca href=\"https://www.juxtapoz.com/news/photography/the-chaos-he-memorialized-rip-san-francisco-photography-legend-dave-schubert/\">Evan Pricco of \u003cem>Juxtapoz\u003c/em> wrote\u003c/a>: “It feels as if an era of San Francisco has passed with the news of the death of photographer, Dave Schubert. Many of my earliest memories of art, of underground culture, of life being fucking lived, was through the lens and eye of Dave Schubert. He was telling me the story of my home city without me even being conscious of it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Noah Lang and friends have set up a fundraising campaign to save and preserve Dave Schubert’s photographic archive. \u003ca href=\"https://www.gofundme.com/f/dave-schuberts-photographic-legacy?qid=93785caa04562f1ed1bf1235d03c5de5\" target=\"_blank\" rel=\"noopener noreferrer\">Details can be found on their GoFundMe page\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>An exhibit of Schubert’s photography will be on display at San Francisco’s \u003ca href=\"https://etaletc.com/\">Et Al. Etc. Gallery\u003c/a> (2831 Mission Street) between July 29 and Aug. 18, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13923399/honoring-dave-schubert-san-franciscos-wildest-street-photographer","authors":["11242"],"categories":["arts_1","arts_835","arts_1564"],"tags":["arts_10278","arts_903","arts_822","arts_1146","arts_1442","arts_8291","arts_901"],"featImg":"arts_13923471","label":"arts"},"arts_13904697":{"type":"posts","id":"arts_13904697","meta":{"index":"posts_1591205157","site":"arts","id":"13904697","score":null,"sort":[1634305572000]},"guestAuthors":[],"slug":"a-half-shredded-banksy-piece-is-auctioned-for-25-4-million-a-record-for-the-artist","title":"A Half-Shredded Banksy Piece is Auctioned for $25.4 Million, a Record for the Artist","publishDate":1634305572,"format":"standard","headTitle":"A Half-Shredded Banksy Piece is Auctioned for $25.4 Million, a Record for the Artist | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Sold!\u003c/p>\n\u003cp>Banksy’s world-renowned shredded painting, \u003ca href=\"https://www.npr.org/2021/09/07/1034962331/banksy-shredder-girl-with-balloon-love-is-in-the-bin-auction-sothebys\" target=\"_blank\" rel=\"noopener noreferrer\">“Love is in the Bin,”\u003c/a> has fetched $25.4 million at a Sotheby’s auction, according to the auction house \u003ca href=\"https://www.sothebys.com/en/buy/auction/2021/contemporary-art-evening-auction-2/love-is-in-the-bin-2\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>.\u003c/p>\n\u003cp>Nine people battled for the piece for around 10 minutes before an anonymous collector, represented by Nick Buckley Wood, won the auction, BBC News reports. The sale is a record for Banksy, beating out \u003ca href=\"https://www.christies.com/en/lot/lot-6309459\" target=\"_blank\" rel=\"noopener noreferrer\">a piece\u003c/a> that was sold for around $22 million in March, with proceeds benefiting a UK charity.\u003c/p>\n\u003cp>“Love is in the Bin” made history with its creation mid-auction in 2018. The original piece, an image of a girl holding a balloon that was aptly titled \u003ca href=\"https://www.npr.org/2018/10/06/655252676/we-just-got-banksy-ed-girl-with-balloon-sells-for-1-4m-before-self-destructing\" target=\"_blank\" rel=\"noopener noreferrer\">“Girl With Balloon,” \u003c/a>garnered $1.4 million at auction but the crowd was shocked when a shredder built within the frame activated as soon as the sale was complete, partly shredding the piece.\u003c/p>\n\u003cp>It was an unforgettable moment in the art world, and the first time that a work of art had actually been created during an auction, according to Sotheby’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Auction officials have maintained that they had no idea what Banksy had planned for the 2018 auction. They were, simply put, “Banksyed,” Oliver Barker, auctioneer and chairman of Sotheby’s Europe, said in a \u003ca href=\"https://sothebys-com.brightspotcdn.com/54/44/8b5ebd5140cc9b7488b457ac4cd8/sothebys-press-release-banksys-love-is-in-the-bin.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">news release\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13898181,arts_13883386,pop_108995']Banksy himself confirmed as much in an \u003ca href=\"https://www.instagram.com/p/BpDMo26h3Cu/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> where he stated plainly that the piece really was shredded and that the auction house was not “in on it.”\u003c/p>\n\u003cp>After Sotheby’s announced last month that “Love is in the Bin” would soon be up for sale, the piece was taken on a brief global tour before returning home to London. The auction house estimated then that it would go for $5 million to $8 million, a pretty substantial return for a piece of art that was purchased for only a fraction of that price.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday, “Love is in the Bin” went back up for sale in the very same room where it was created three years ago, according to Sotheby’s. But unlike then, this week’s auction was uneventful—no artwork was created or destroyed during the proceedings. It seemed to be a source of relief for Barker at least, who remarked, after all was said and done, that he was glad the work was “still there,” according to BBC News.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+half-shredded+Banksy+piece+is+auctioned+for+%2425.4+million%2C+a+record+for+the+artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"\"Love is in the Bin\" made history when it was created by a surprise shredding during a 2018 auction.","status":"publish","parent":0,"modified":1705007605,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":11,"wordCount":419},"headData":{"title":"A Half-Shredded Banksy Piece is Auctioned for $25.4 Million, a Record for the Artist | KQED","description":""Love is in the Bin" made history when it was created by a surprise shredding during a 2018 auction.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Tristan Fewings","nprByline":"Sharon Pruitt-Young","nprImageAgency":"Getty Images for Sotheby's","nprStoryId":"1046134451","nprApiLink":"http://api.npr.org/query?id=1046134451&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2021/10/14/1046134451/banksy-shredded-auction-sold-record?ft=nprml&f=1046134451","nprRetrievedStory":"1","nprPubDate":"Thu, 14 Oct 2021 17:06:00 -0400","nprStoryDate":"Thu, 14 Oct 2021 17:06:14 -0400","nprLastModifiedDate":"Thu, 14 Oct 2021 17:06:14 -0400","templateType":"standard","featuredImageType":"standard","path":"/arts/13904697/a-half-shredded-banksy-piece-is-auctioned-for-25-4-million-a-record-for-the-artist","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sold!\u003c/p>\n\u003cp>Banksy’s world-renowned shredded painting, \u003ca href=\"https://www.npr.org/2021/09/07/1034962331/banksy-shredder-girl-with-balloon-love-is-in-the-bin-auction-sothebys\" target=\"_blank\" rel=\"noopener noreferrer\">“Love is in the Bin,”\u003c/a> has fetched $25.4 million at a Sotheby’s auction, according to the auction house \u003ca href=\"https://www.sothebys.com/en/buy/auction/2021/contemporary-art-evening-auction-2/love-is-in-the-bin-2\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>.\u003c/p>\n\u003cp>Nine people battled for the piece for around 10 minutes before an anonymous collector, represented by Nick Buckley Wood, won the auction, BBC News reports. The sale is a record for Banksy, beating out \u003ca href=\"https://www.christies.com/en/lot/lot-6309459\" target=\"_blank\" rel=\"noopener noreferrer\">a piece\u003c/a> that was sold for around $22 million in March, with proceeds benefiting a UK charity.\u003c/p>\n\u003cp>“Love is in the Bin” made history with its creation mid-auction in 2018. The original piece, an image of a girl holding a balloon that was aptly titled \u003ca href=\"https://www.npr.org/2018/10/06/655252676/we-just-got-banksy-ed-girl-with-balloon-sells-for-1-4m-before-self-destructing\" target=\"_blank\" rel=\"noopener noreferrer\">“Girl With Balloon,” \u003c/a>garnered $1.4 million at auction but the crowd was shocked when a shredder built within the frame activated as soon as the sale was complete, partly shredding the piece.\u003c/p>\n\u003cp>It was an unforgettable moment in the art world, and the first time that a work of art had actually been created during an auction, according to Sotheby’s.\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>Auction officials have maintained that they had no idea what Banksy had planned for the 2018 auction. They were, simply put, “Banksyed,” Oliver Barker, auctioneer and chairman of Sotheby’s Europe, said in a \u003ca href=\"https://sothebys-com.brightspotcdn.com/54/44/8b5ebd5140cc9b7488b457ac4cd8/sothebys-press-release-banksys-love-is-in-the-bin.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">news release\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13898181,arts_13883386,pop_108995","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Banksy himself confirmed as much in an \u003ca href=\"https://www.instagram.com/p/BpDMo26h3Cu/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a> where he stated plainly that the piece really was shredded and that the auction house was not “in on it.”\u003c/p>\n\u003cp>After Sotheby’s announced last month that “Love is in the Bin” would soon be up for sale, the piece was taken on a brief global tour before returning home to London. The auction house estimated then that it would go for $5 million to $8 million, a pretty substantial return for a piece of art that was purchased for only a fraction of that price.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday, “Love is in the Bin” went back up for sale in the very same room where it was created three years ago, according to Sotheby’s. But unlike then, this week’s auction was uneventful—no artwork was created or destroyed during the proceedings. It seemed to be a source of relief for Barker at least, who remarked, after all was said and done, that he was glad the work was “still there,” according to BBC News.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+half-shredded+Banksy+piece+is+auctioned+for+%2425.4+million%2C+a+record+for+the+artist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13904697/a-half-shredded-banksy-piece-is-auctioned-for-25-4-million-a-record-for-the-artist","authors":["byline_arts_13904697"],"categories":["arts_1","arts_235"],"tags":["arts_8811","arts_903"],"affiliates":["arts_137"],"featImg":"arts_13904698","label":"arts_137"},"arts_13897425":{"type":"posts","id":"arts_13897425","meta":{"index":"posts_1591205157","site":"arts","id":"13897425","score":null,"sort":[1621457646000]},"guestAuthors":[],"slug":"sf-lgbt-center-new-queeroes-mural-fnnch-honey-bears","title":"SF LGBT Center Unveils New ‘Queeroes’ Mural After fnnch Honey Bear Controversy","publishDate":1621457646,"format":"standard","headTitle":"SF LGBT Center Unveils New ‘Queeroes’ Mural After fnnch Honey Bear Controversy | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>Work has begun on a new mural at the San Francisco LGBT Center. Artists \u003ca href=\"https://jmanuelcarmona.com/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Juan Manuel Carmona\u003c/a> and \u003ca href=\"https://simonmalvaez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Simón Malvaez\u003c/a> are in the process of painting \u003cem>Queeroes\u003c/em>—a tribute to LGBTQ+ heroes, both local and international. The artwork graces the center’s East-facing exterior wall, replacing \u003ca href=\"https://fnnch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fnnch\u003c/a>’s trio of honey bears that was \u003ca href=\"https://www.kqed.org/arts/13896515/honey-bear-mural-painted-over-by-sf-lgbt-center-artist-fnnch-responds\" target=\"_blank\" rel=\"noopener noreferrer\">removed in late April\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/CPEBGFGBl6o/\u003c/p>\n\u003cp>\u003cem>Queeroes\u003c/em> honors four figures from Bay Area LGBTQ+ history: Harvey Milk, Honey Mahogany, Juanita MORE! and Sister Roma of the Sisters of Perpetual Indulgence. It also features international icons including Freddie Mercury, Frida Kahlo, Marsha P. Johnson, Keith Haring, Chavela Vargas, James Baldwin, Sylvia Rivera and Willi Ninja. The piece incorporates the colors of the Progress Pride Flag.\u003c/p>\n\u003cp>Both Carmona and Malvaez identify as Latinx and queer, and say their work is impacted by their experiences as immigrants. On his website, Carmona says his work also reflects “the intersection of the LGBTQI and Latino communities of San Francisco.” Malvaez and Carmona finished a separate \u003ca href=\"https://www.instagram.com/p/COs6yWHBCdv/\" target=\"_blank\" rel=\"noopener noreferrer\">mural of Juanita MORE!\u003c/a> earlier this month at Alamo Square. That piece is part of \u003ca href=\"http://www.400divisadero.com/painted-gentlemen-murals/\" target=\"_blank\" rel=\"noopener noreferrer\">the Painted Gentlemen Project\u003c/a>—a series of artworks painted on plywood and affixed to a chainlink fence at 804 Steiner. The project is curated and managed by fnnch.\u003c/p>\n\u003cp>[aside postid='arts_13896327']The new LGBT Center mural follows a flurry of debate surrounding fnnch’s work and its broader impact on the city, which came to a boiling point last month. His honey bears—perceived by some as a symbol of gentrification—prompted a petition, an \u003ca href=\"https://www.instagram.com/p/CONzmTMhWRs/\" target=\"_blank\" rel=\"noopener noreferrer\">open letter\u003c/a> and several small protests at the mural’s Market Street intersection calling for its removal. Controversy was further stirred by fnnch identifying himself, during an on-camera confrontation, as an “immigrant” from Missouri. Protesters called for the center to employ lesser known, local, LGBTQ+-identifying artists to re-paint the wall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the launch video shared by the LGBT Center’s Instagram on Wednesday, Carmona and Malvaez expressed gratitude for the commission. “We feel very grateful to have this amazing opportunity to share our talent,” Malvaez said, “and have the power to raise our voices and celebrate who we are and who we represent.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/CPD1dXhN2fw/?utm_source=ig_web_copy_link\u003c/p>\n\n","blocks":[],"excerpt":"The LGBT Center’s wall, which has been blank since late April, features a new mural by Juan Manuel Carmona and Simón Malvaez.","status":"publish","parent":0,"modified":1705008353,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":394},"headData":{"title":"SF LGBT Center Unveils New ‘Queeroes’ Mural After fnnch Honey Bear Controversy | KQED","description":"The LGBT Center’s wall, which has been blank since late April, features a new mural by Juan Manuel Carmona and Simón Malvaez.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13897425/sf-lgbt-center-new-queeroes-mural-fnnch-honey-bears","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Work has begun on a new mural at the San Francisco LGBT Center. Artists \u003ca href=\"https://jmanuelcarmona.com/en/\" target=\"_blank\" rel=\"noopener noreferrer\">Juan Manuel Carmona\u003c/a> and \u003ca href=\"https://simonmalvaez.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Simón Malvaez\u003c/a> are in the process of painting \u003cem>Queeroes\u003c/em>—a tribute to LGBTQ+ heroes, both local and international. The artwork graces the center’s East-facing exterior wall, replacing \u003ca href=\"https://fnnch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">fnnch\u003c/a>’s trio of honey bears that was \u003ca href=\"https://www.kqed.org/arts/13896515/honey-bear-mural-painted-over-by-sf-lgbt-center-artist-fnnch-responds\" target=\"_blank\" rel=\"noopener noreferrer\">removed in late April\u003c/a>.\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CPEBGFGBl6o"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Queeroes\u003c/em> honors four figures from Bay Area LGBTQ+ history: Harvey Milk, Honey Mahogany, Juanita MORE! and Sister Roma of the Sisters of Perpetual Indulgence. It also features international icons including Freddie Mercury, Frida Kahlo, Marsha P. Johnson, Keith Haring, Chavela Vargas, James Baldwin, Sylvia Rivera and Willi Ninja. The piece incorporates the colors of the Progress Pride Flag.\u003c/p>\n\u003cp>Both Carmona and Malvaez identify as Latinx and queer, and say their work is impacted by their experiences as immigrants. On his website, Carmona says his work also reflects “the intersection of the LGBTQI and Latino communities of San Francisco.” Malvaez and Carmona finished a separate \u003ca href=\"https://www.instagram.com/p/COs6yWHBCdv/\" target=\"_blank\" rel=\"noopener noreferrer\">mural of Juanita MORE!\u003c/a> earlier this month at Alamo Square. That piece is part of \u003ca href=\"http://www.400divisadero.com/painted-gentlemen-murals/\" target=\"_blank\" rel=\"noopener noreferrer\">the Painted Gentlemen Project\u003c/a>—a series of artworks painted on plywood and affixed to a chainlink fence at 804 Steiner. The project is curated and managed by fnnch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13896327","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>The new LGBT Center mural follows a flurry of debate surrounding fnnch’s work and its broader impact on the city, which came to a boiling point last month. His honey bears—perceived by some as a symbol of gentrification—prompted a petition, an \u003ca href=\"https://www.instagram.com/p/CONzmTMhWRs/\" target=\"_blank\" rel=\"noopener noreferrer\">open letter\u003c/a> and several small protests at the mural’s Market Street intersection calling for its removal. Controversy was further stirred by fnnch identifying himself, during an on-camera confrontation, as an “immigrant” from Missouri. Protesters called for the center to employ lesser known, local, LGBTQ+-identifying artists to re-paint the wall.\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>In the launch video shared by the LGBT Center’s Instagram on Wednesday, Carmona and Malvaez expressed gratitude for the commission. “We feel very grateful to have this amazing opportunity to share our talent,” Malvaez said, “and have the power to raise our voices and celebrate who we are and who we represent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"instagramLink","attributes":{"named":{"instagramId":"CPD1dXhN2fw"},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13897425/sf-lgbt-center-new-queeroes-mural-fnnch-honey-bears","authors":["11242"],"categories":["arts_1","arts_11615","arts_235"],"tags":["arts_903","arts_3226","arts_1737"],"featImg":"arts_13897427","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. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />","airtime":"SUN 9pm-10pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2021/12/CodeSwitchLifeKit_StationGraphics_300x300EmailGraphic.png","meta":{"site":"radio","source":"npr"},"link":"/radio/program/code-switch-life-kit","subscribe":{"apple":"https://podcasts.apple.com/podcast/1112190608?mt=2&at=11l79Y&ct=nprdirectory","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy","spotify":"https://open.spotify.com/show/3bExJ9JQpkwNhoHvaIIuyV","rss":"https://feeds.npr.org/510312/podcast.xml"}},"commonwealth-club":{"id":"commonwealth-club","title":"Commonwealth Club of California Podcast","info":"The Commonwealth Club of California is the nation's oldest and largest public affairs forum. 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