Eric Murphy’s latest exhibition, “Oakland City of Stars: From the Archives,” on view through Aug. 31, offers more than a visual tribute to Oakland; it presents history and a global connection rooted in the city’s cultural legacy.

Curated by Veda Silva at the African American Museum and Library at Oakland (AAMLO), the mixed-media solo show builds on Murphy’s evolving “Oakland All-Stars” series, highlighting figures rooted in community history.

Murphy’s artistic journey is grounded in a lifelong passion for storytelling through visuals. Beginning as a child sketching celebrities, he later expanded into collage, blending illustration with found imagery and photography.

His formal training at Laney College sharpened his photography skills, while his early career as a fashion photographer exposed him to broader creative networks. At the same time, his decade-long work with Pro Arts Gallery in Oakland expanded his artistic journey.

These experiences converge in “City of Stars,” where Murphy combines photography, digital collage, and graphic design into distinctive portraits. Each subject is embedded within a stylized map of Oakland, marked by district lines, and layered with visual references tied to their personal and cultural narratives.

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Presented in a ‘playing card’ format, the works replace traditional suits with the City of Oakland logo, while multilingual elements and hand-painted details deepen the storytelling. The result is a series that feels both archival and contemporary, an artistic documentation of Oakland’s influence across generations.

The exhibit’s opening reception was also Murphy’s birthday celebration. “I’m celebrating my birthday, Oakland history, cultural ties, and art.”

About 50 guests attended the exhibit, including Joyce Gordon of Joyce Gordon Gallery, entertainer Zina Escovedo, and activists Alan Banks and Inez Banks. “We loaned one of our pieces to the exhibit,” said Alan Banks proudly.

Murphy credits much of his inspiration to his deep interest in Oakland history and its global intersections. Murphy also created a line of Oakland International language shirts. The concept originated in 2012 during a cultural exchange exhibition he managed between Oakland and its sister city, Fukuoka, Japan, celebrating their 50th anniversary.

Working with artists such as Emmy Award-winner James Gayles and photographer Hiroko To, Murphy began exploring language as a bridge between cultures. After studying Japanese at Laney College, he became fascinated with how “Oakland” could be expressed across languages.

That curiosity evolved into a design series beginning in 2019 with “Oakland” translated into Japanese as “Okurando.” From there, Murphy collaborated with community members and translators to create versions in multiple languages. By incorporating archival materials, cultural symbols, and historical references, Murphy transformed each shirt into a narrative artifact rather than a simple translation.

“Each design allowed me to show how rich our history is and how connected Oakland is to the world,” said Murphy.

This same philosophy drives the “Oakland All-Stars” series. Inspired by a moment of pride watching actor Shemar Moore acknowledge his Oakland roots on national television, Murphy began researching other successful people connected to the city. The series now includes former U.S. Vice President Kamala Harris, actress Zendaya, and the late comedian Paul Mooney, among others linked to Oakland.

“I am proud to feature Oakland in my artwork,” said Murphy. “Oakland is a special place, and art is a great way of showing the world what we are about.”

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Belonging to the Entire Universe: Leslie Barlow’s New Mural Reimagines Community and Cosmos

Callisto Martinez reports on visual artist Leslie Barlow’s new mural, “Belonging to the Entire Universe,” a 66-by-33-foot installation unveiled at the McKnight Foundation’s Minneapolis headquarters. Named for a quote from astronaut Mae Jemison, the piece weaves constellations, textiles from Barlow’s travels to Tanzania, and native plants into what she calls an “artistic roadmap” for sustained community care, painted in part during the height of Operation Metro Surge.

Growing up, visual artist Leslie Barlow wanted to be an astronaut. Now, her mural Belonging to the Entire Universe, titled in reference to a quote from astronaut Mae Jemison, the first Black woman to travel into space, brings Barlow’s vision of a future universe to downtown Minneapolis.

Unveiled on June 12, the 66-by-33-foot installation faces the U.S. Bank Stadium and is displayed on the Minneapolis headquarters of the McKnight Foundation, a Minnesota-based foundation dedicated to advancing climate solutions, combatting housing instability and confronting other issues impacting Minnesotans.

“What I would love people to take away from it is this reminder of our relationship to the land, to each other, to our ancestors’ lineage, and then, of course, as the title says, to the entire universe,” said Barlow, a 2025 McKnight Visual Artist Fellow.

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Barlow has long admired Jemison, enough to dress up as her for Halloween a few years ago, but the piece was not titled after Jemison until it was already finished. Barlow’s initial inspiration for the piece came directly from McKnight’s mission to “advance a more just, creative, and abundant future where people and [the] planet thrive.”

“With the words ‘just,’ ‘creative,’ and ‘abundant,’ I was thinking of something that showed a large amount of space, something that was really colorful and vibrant, definitely something that had plant life and spoke to the environment and the planet, so that’s where the cosmic imagery came in,” Barlow said. “I wanted it to feel like it flowed between different images to encompass people and [the] planet.”

Barlow’s piece began with digital sketches that she presented to a committee of McKnight staff and board members, who gave feedback on the design and unanimously selected her from a pool of applicants.

Barlow began rendering her drafts into a 7-foot-wide and 3.5-foot-tall oil painting in February, when Operation Metro Surge was in full force.

“It was actually very difficult for me to start painting because of the way that we were pulled toward mutual aid and on-the-ground efforts,” Barlow said. “It was a very dark time where so many of us were grieving and a lot of people were scared, rightly so, and still are. But at that time, I was also wanting to create an image that felt really hopeful and felt like another world was possible.”

Barlow describes the painting as an “artistic roadmap” that considers “if these aren’t just moments that our communities come together, but we are continually caring for each other and supporting each other, what society could look like.”

Constellations, textiles, native plants and the cosmic reconstruction of the Mississippi River function as “visual moments that could allude to multiple narratives, deeper meanings,” according to Barlow.

Much of the mural’s plant life was photographed outside the McKnight headquarters. The floral details grew out of McKnight’s photo library, inspired by the foundation’s work with local farmers of color.

Similarly, the textiles embedded within the mural “allude to a quilting of ideas, or histories, or stories” together, Barlow explained. Their designs primarily draw from Barlow’s personal collection, which she has grown since she began working with textiles in 2016.

“The textile that’s the biggest, which looks almost like DNA, which I really love, is both organic and geometric in shape,” Barlow said. “Those pieces, I actually purchased from Tanzania on my very first trip to the African continent. … That trip was very meaningful for me as a Black person, and so I wanted that one to be central in the space.”

While grounded in the local landscape, the symbols also draw from Afrofuturism and Indigenous futurisms. Barlow sees Afrofuturism and Black and Indigenous solidarity as parts of herself that she brought to the piece, given their significance in her work outside visual art. In 2023, she founded ConFluence, a two-day sci-fi convention in Northeast Minneapolis that centers Black people, Indigenous people and people of color.

Though the symbolism is personal for Barlow, she encourages viewers to form their own interpretations and connections to their own lives. The central image of three women from different generations standing together, each wearing a matching turquoise motif in a different way, was also created with this hope in mind.

“I wanted people to be able to see themselves in these people,” Barlow explained. “They are painted as individuals, but they are also kind of symbols.”

For Tonya Allen, president of the McKnight Foundation, each viewer’s personal connection with Belonging to the Entire Universe also encourages connection with others.

“This mural is both a reflection and a call,” Allen said. “Rooted in the history, cultures, and landscapes that shape Minnesota, Leslie’s work honors what has shaped us while inviting us to imagine what’s possible. It reminds us that a more just and hopeful future is something we must create together.”

Belonging to the Entire Universe is the inaugural installation in McKnight’s public art series, which will feature a different piece every three years. It is displayed at the McKnight Foundation’s Minneapolis headquarters, located at 921 Washington Ave. S.

For more information, visit https://www.mcknight.org/news-ideas/mcknight-unveils-new-public-mural-by-leslie-barlow-launching-rotating-public-art-series/.

Callisto Martinez is a recent Macalester graduate and contributing writer for the Minnesota Spokesman-Recorder. They welcome reader responses at martinezcallisto@gmail.com.

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Callisto Martinez

Callisto Martinez is a recent Macalester graduate and contributing writer for the Minnesota Spokesman-Recorder. More by Callisto Martinez

Based on reporting by Minnesota Spokesman-Recorder.

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by JR Valrey, the People’s Minister of Information

When many people think of resistance, they think of guns. Some think of organizing. But outside of the organizing community, very few would consider using culture as a weapon, in the spirit of artists like Gil Scott-Heron, The Watts Prophets, The Last Poets, Miriam Makeba, Bob Marley, Fela Kuti, 2Pac, the Coup, Dead Prez and Lauryn Hill. The great Guinea-Bissau revolutionary Amilcar Cabral once said that you can see how ripe a people are for revolution by comparing how similar their culture is to that of the oppressor.

Obi Egbuna Jr. of the Zimbabwe-Cuban Friendship Association has been organizing internationally in support of resistance movements and revolutionary governments for decades. The most recent project that he organized is called “Kotelemela Bolingo,” which means “Resistance and Love” in the Lingala Congolese language. It is a music project — given away for free — dedicated to the late freedom fighter and political exile Assata Shakur of the Black Liberation Army and Black Panther Party, and Pauline Lumumba, the wife of the assassinated first prime minister of the Democratic Republic of the Congo, the late great Patrice Lumumba. The album features legendary artists like Oakland’s Numskull of the Luniz, L.A.’s Ras Kass, and the DMV’s Mumu Fresh, as well as many talented up-and-coming artists from around the world.

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You can hear part of the compilation here: Kotelemela Bolingo (Full Album; Vol. 1)

JR Valrey: Who is the Zimbabwe-Cuban Friendship Association? What is its history? What is your relationship with the organization?

Obi Egbuna Jr.: ZICUFA is an organizational vehicle whose aim is to maintain the solidarity and camaraderie between Zimbabweans and Cubans on a people-to-people level.

Traditionally speaking, revolutions start from the bottom to the top. Therefore, while the ruling parties and leadership of both nations have a strong and unbreakable bond, these friendship associations are the reason Cuba’s people and revolution are truly revered throughout Mother Africa. This dynamic is on full display, especially in Mother Africa’s southern region.

In 1985, Cuba bestowed the late Zimbabwean president and Pan-African revolutionary icon Robert Gabriel Mugabe with the Jose Marti Award, Cuba’s highest honor, one year after the youthful, dynamic Pan-African phenom and president of Burkina Faso, Thomas Sankara, was a recipient. When I learned this, it became abundantly clear that certain elements who have written about Cuba’s ties to Africa have allowed subjectivity to affect their better judgment. Too often, they reduce Cuba-African relations to Madiba Nelson Mandela receiving the Marti Award and Cuba’s heroic guerilla mission in Angola. Those who choose to peddle this narrative, historically speaking, leave a lot of meat on the bone.

In 1986, Comandante Fidel Castro visited Zimbabwe for the Non-Aligned Movement conference. I remember the twinkle in the eyes of the late Dr. Nathan Shamuyarira, Zimbabwe’s first foreign minister and national hero, fondly reflecting on this moment in history. Dr. Shamuyarira said Comandante Fidel Castro was going back and forth from the NAM conference to the Cuban Embassy because he was sending instructions to Cuba’s fighting forces in Angola. Somehow, between this rigorous schedule, the Comandante took the opportunity to visit schools in Zimbabwe, which resulted in an agreement with President Mugabe that Zimbabwean teachers could come to Cuba for training. From 1986 to 1996, 3,000 Zimbabwean teachers went to Cuba and became the backbone of their nation’s educational system, which today has a 97% literacy rate.

As this year marks the 40th anniversary of the death of Mozambique’s president, the revolutionary giant Samora Machel, his two personal physicians were Cuban doctors whose lives were claimed in that awful plane crash. When the civil and human rights icon Bayard Rustin broke our hearts and supported the CIA-trained mercenaries UNITA in Angola, whose sole purpose for existence was to overthrow the socialist revolutionary party MPLA, his justification was to prevent the rise of Cuban influence in southern Africa. During Cuba’s guerilla operation in Angola in Cuito Cuanavale, we often forget that the revolutionary party of Namibia, SWAPO, was part of that fight, which represented, at the time, the largest military conflict on African soil since World War II. Our role in this process is a raindrop in a full-fledged thunderstorm.

In 2003, Cuba’s deputy ambassador to their interests section in Washington, D.C., Ambassador Cosme Torres Espinoza, was deported under false charges of espionage. Not too long after this, the U.S. State Department denied Cuban diplomats the opportunity to travel outside the D.C.-Maryland-Virginia beltway. The goal was to curtail the outpouring of invitations Cuban diplomats always receive from educators, clergy, local elected officials, business people, artists, and, of course, grassroots organizers who feel the cowardly and racist blockade is outdated. His next detail was to serve as Cuba’s ambassador to the Republic of Zimbabwe. I met with him in Zimbabwe 20 years ago, and he asked me to join the organization. At the time, I was growing increasingly frustrated with Cuban solidarity efforts in North America, in particular with paternalism and racism. I am eternally grateful to Ambassador Torres for that lifeline.

About 10 years ago, ZICUFA’s secretary general, Comrade Pesanai, who was the first teacher to complete the training in Cuba, asked me to become the organization’s first external relations officer in ZICUFA’s history. This was on par with serving as the U.S. correspondent to The Herald, Zimbabwe’s national newspaper, or perhaps an even greater responsibility and honor.

JR Valrey: Why did the organization organize its fourth musical compilation in honor of Assata Shakur and Pauline Lumumba? What is the importance of these women?

Obi Egbuna Jr.: This is our first compilation honoring Assata Shakur and Pauline Lumumba. However, 12 years ago, we had the honor of collaborating with Mutulu Olugbala, affectionately known as M1 of the internationally acclaimed hip-hop group Dead Prez, for a project entitled BattleCry for Cuba and Zimbabwe. It ended up being a three-album set, with artists the world over lending their voices to the fight to have the U.S. blockade on Cuba and U.S.-E.U. sanctions on Zimbabwe lifted. It was an honor and privilege to collaborate with an artist of M1’s caliber, especially during this time period, when he had many organizers pulling him in a multitude of directions. The first album took two and a half years to complete, but after that, we were running downhill.

The highlight of that time period was when the Cuban diplomat Alexander Rodriguez contacted us and said that the International Committee to Free the Cuban Five wanted us to perform for a concert they were organizing in Washington, D.C. The venue ended up being my old junior high school, Abraham Lincoln. That entire process prepared us for the current effort. The Assata Shakur-Pauline Lumumba Project emanated from the Assata Shakur Cuba Defense Campaign, which was launched two and a half years ago. The campaign had three goals: 1. To get Sister Assata off the terrorist list. 2. To get the $2 million bounty on Sister Assata’s head lifted. 3. To have Cuba removed from the U.S. State Department’s list of nations they accuse of being involved with state-sponsored terrorism.

We had the late Black Panther pioneer Bilal Sunni-Ali as our strategic and tactical advisor on that project. We had an unbelievable press conference that had elected officials like Charles Barron, the councilman and assemblyman in New York; Calvin Hawkins, who was the councilmember at large in PG County; and Hank Sanders, the longest-serving state senator in Alabama’s history, who represented the 23rd District, an area plagued with abject poverty. Senator Sanders was also involved in the negotiations that led to the Port of Mobile being opened to Havana. We had the Grammy-nominated artist Mumu Fresh as well. To top everything off, we had the children in the Thomas Sankara Center in Burkina Faso weigh in on the situation, carrying Hands Off Assata signs through the streets of Ouagadougou.

Last year, we held another press conference turning attention to the medical dimension of Cuban revolutionary expression. We had the former president of the National Medical Association, Dr. Lucy Norville Perez, who was the first NMA president to visit Cuba back in 2002. Dr. Abeeku Dada, who graduated from the Latin American School of Medicine in Cuba and co-founded the International Medical Society of ELAM Graduates, organizes brigades of graduates from ELAM to go and assist Cuba’s Henry Reeve Medical Brigade in nations where they have a physical presence. We had Dr. Mabel Montego, who heads the brigade in Burkina Faso, also weigh in. We had Dr. Mardia Stone, a Liberian physician who was working in Liberia when the Cuban doctors were there a few years back to eradicate Ebola. We worked in partnership with the Friends of the Congo to pull off that press conference. The Cuban embassies in Burkina Faso and Congo-Brazzaville were in attendance. This album is a follow-up to those events. It is a double album with 30 songs featuring reggae, spoken word, R&B, hip-hop, blues poetry, jazz and opera. Through this, we can identify practical ways to support the 4,000 Cuban doctors in Mother Africa.

JR Valrey: Who are the artists that contributed?

Obi Egbuna Jr.: You have Numskull of the Luniz, thanks to you. You have Ras Kass, thanks to Minister Pyeface X, who also brought in the brother Timmy Staxx, whose producing and engineering elevated the project. You have Mumu Fresh, who closed Assata’s tribute with Common and was recently on The Tonight Show with Nas and AZ. You have Grammy Award-winner MediSun, a reggae singer whose voice reminds people of David Hinds from the legendary group Steel Pulse. The genres represented are the highlight. We gave the usual suspects — Dead Prez, Immortal Technique, Yasiin Bey and Talib Kweli, KRS-One, Chuck D — the day off. The production by Timmy Staxx, whose mixes, mastering and engineering are absolutely breathtaking.

I also have to point out that JPhin and Tongo are willing to assist with the logistics of the project, which echoes the sentiment of the Pan-African giant Ahmed Sekou Toure when he said, “To be part of the African revolution, it is not enough to write a revolutionary song. You must fashion the song with the people, and the songs will come of themselves and by themselves.”

JR Valrey: What does the compilation sound like?

Obi Egbuna Jr.: I don’t think I can be objective, so we will let the people be the judge. I’ll say this, my brother: We studied the George Harrison Bangladesh album, the Live Aid concert, and the documentary that showed how the We Are the World project came together. When it comes to African protest music, we have an endless library, but too often there is a vast disparity between the content and musicianship. The quality was an utmost priority, and we can’t wait to see how our people worldwide receive the project. You have material in five languages, reaffirming the sentiment that music is the universal language of the planet. We creatively tested the waters.

JR Valrey: Politically, how do these compilations help the cause of ending the blockades against Cuba and the genocide against the Congo currently going on?

Obi Egbuna Jr.: When done organically, these projects represent cultural warfare. If U.S. imperialism can use films like “Scarface” and “The Godfather” to demonize the Cuban revolution, then double down by using athletes like Alexis Arguello, who turned his back on the Sandinistas and had the Gusanos in Miami reward him by organizing his fight against Aaron Pryor in the Orange Bowl, then we have to counter with projects like this.

I remember speaking with Kwame Ture immediately after he left the Honorable Minister Louis Farrakhan’s residence after The Notorious B.I.G. was gunned down in Los Angeles. He asked me how long I thought it would take before hip-hop artists, in particular, would make protest music. My answer was between 1988 and 1990, we were doing it. That’s how he ended up on the BDP Edutainment album. He meant protest issues that represented our political efforts. I stated that the artists were a microcosm of our community, and they had, using Malcolm’s terminology, chosen the ballot over the bullet.

Around that same period, Sister Assata and Comrade Nehanda Abiodun had charged the Malcolm X Grassroots Movement with educating artists about political prisoner work. The Cuban expert James Early stated that he and Harry Belafonte had held talks with Comandante Fidel Castro about hip-hop. The Malcolm X Grassroots Movement spearheaded the Black August effort. Common’s Assata song, in the opinion of many, is the highlight.

A few years later, Omowale Adewale of the Grassroots Artists Movement introduced us to M1 from Dead Prez, and we had a press conference calling for Cuban doctors to address the public health crisis in New York City, which ended up being in conjunction with our efforts to keep the doors of D.C. General Hospital open. We had 100 clergy pray for Cuban doctors to come save D.C. General Hospital because the poorest part of D.C. was left without a Level 1 trauma center or prenatal care unit. You also had the head of the Nursing Department at Bowie State University, Dr. Eleanor Walker, appeal to Cuba to start offering nursing scholarships because, in North America, Africans had an all-time shortage of nurses. Unbeknownst to many, this predates Cuba’s offer to send 1,500 environmental disaster specialists to the Gulf region after Hurricane Katrina.

With George W. Bush reinventing himself as a born-again humanitarian in Africa, the collapse of the imperialist masking agent USAID, along with not one African head of state yielding to U.S. imperialist pressure by terminating their agreement with Cuba to have the Henry Reeve Medical Brigade function in their respective nations. Unlike the seven nations in this hemisphere who showed the Cuban doctors the door, Africa stood firm, thanks to the people. This is the political advantage and a reminder that our liberation struggle is also for our human dignity.

I am a product of an ideological leaning that when Nigeria, because of its population; Azania/South Africa, because of its strategic location; and the Congo, because of its vast wealth, fall under revolutionary control, the decolonization process will have officially come full circle. We are thankful that even though the artists are more familiar with Sister Assata, they embraced incorporating the journey of Pauline Lumumba, which demonstrates what Pan-Africanism looks like when executed in this manner.

JR Valrey: How did the compilation projects originally begin?

Obi Egbuna Jr.: We started preparing for the album at the end of March. Based on the attacks on Cuba, we worked diligently around the clock. I brainstormed with the co-executive producer, Russell Shoatz III, whom I contacted because the artists we chose to spearhead this, Richard Raw in Delaware and Foluke Bady in Baltimore, informed us that scheduling prohibited them from spearheading a project of this magnitude. Because of Russell’s experience with CurbFest and my previous connection to the BattleCry project, we were humbled to assume this responsibility.

JR Valrey: How can people hear the project?

Obi Egbuna Jr.: The main source at the moment is YouTube. We thank you for your involvement and support. By the time we speak to you, it should be available fully on Instagram, Facebook, LinkedIn and TikTok. We are not monetizing, therefore we cannot and will not use streaming platforms. Thanks for the support in numerous capacities. Long live Assata Shakur, long live Pauline Lumumba, long live Cuba, long live the African fighting spirit!!!!

SF Bay View Editor-in-Chief JR Valrey is a veteran journalist who can be heard weekly on Wednesdays on 89.5FM KPOO orKPOO.com from noon to 3 p.m. His work can also be heard on www.blockreportradioworld.com. You can reach him at JR@sfbayview.com.

The post Kotelemla Bolinga: a soundtrack for resistance and love appeared first on San Francisco Bay View.

Based on reporting by SF Bay View.

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