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OPINION: Will Geoffrey’s Inner Circle Become Another Victim of Hi-Rise ‘Destruction?’

The Oakland City Council should reject Tidewater’s proposal. It does not fit the Council’s 2016 Resolution setting up the Black Arts Movement and Business District. It proposes to construct something no one in Oakland needs — more offices or more non-affordable housing — and harm something everyone needs, a historic African American business led by the kindest of Oakland’s residents, someone who feeds the homeless at his own expense and entertains everyone with wonderful music at a reasonable price. This process has been discriminatory, inept, capricious, and perhaps illegal, boldly favoring wealthy developers over Black business.

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The Oakland Planning Commission has so far ignored a 2016 City Council resolution creating the downtown Black Arts Movement and District by allowing construction of the Marriott Hotel to impede business at Uncle Willie’s BBQ and Fish and is on the verge of approving a high rise that would overshadow Pete’s Inner Circle. Both businesses are on 14th street. Geoffrey Pete is owner of Geoffrey’s Inner Circle. File photo image.
The Oakland Planning Commission has so far ignored a 2016 City Council resolution creating the downtown Black Arts Movement and District by allowing construction of the Marriott Hotel to impede business at Uncle Willie’s BBQ and Fish and is on the verge of approving a high rise that would overshadow Pete’s Inner Circle. Both businesses are on 14th street. Geoffrey Pete is owner of Geoffrey’s Inner Circle. File photo image.

Oakland’s Planning Process Helps Wealthy Developers, Harms Black Businesses Like Geoffrey’s Inner Circle

By Kitty Epstein and Paul Cobb

Tidewater Capital, a multimillion-dollar corporation, plans to build a 27-story building to house affluent people in the middle of the Black Arts Movement and Business District. It will harm one of Oakland’s most important Black businesses, Geoffrey’s Inner Circle, and will not serve Black Oaklanders in any way.

The Oakland City Council should reject Tidewater’s proposal. It does not fit the Council’s 2016 Resolution setting up the Black Arts Movement and Business District. It proposes to construct something no one in Oakland needs — more offices or more non-affordable housing — and harm something everyone needs, a historic African American business led by the kindest of Oakland’s residents, someone who feeds the homeless at his own expense and entertains everyone with wonderful music at a reasonable price. This process has been discriminatory, inept, capricious, and perhaps illegal, boldly favoring wealthy developers over Black business.

Supporters are asked to come to a special session at Oakland City Hall City Council chambers on Tuesday Dec. 19 at 4 p.m. where the issue will be on the agenda.

The reasons the city council should reject this development are described below:

  1. The Oakland Planning Department has gone rogue in its effort to develop downtown Oakland as high and as fast as possible. It will require the action of the City Council to restore some accountability and lawfulness to the process and to protect Oakland’s beautiful legacy: the connection between Oakland’s downtown, views of sunsets at Lake Merritt and the first and only cultural district, the Black Arts Movement and Business District.
  2. Any new development in this designated Black cultural district should contribute to that purpose. The Black Arts and Business district needs such things as a). parking for its clients, b). additional galleries, bookstores; and coffee shops amenable to Oakland’s dwindling Black population; c). beautiful signage commemorating the contributions of Black Oaklanders.Instead, this proposed development will remove the one remaining downtown parking lot and draw in additional gentrification. This is a violation of the resolution of the BAMBD.Further, the proposed development poses a direct threat to Geoffrey’s Inner Circle (GIC), which is a treasured Oakland location destination point that holds live music productions such as jazz events. GIC also is a venue space for funerals, weddings and private partis. GIC has hosted community forums, political gatherings and has served the homeless and unhoused population years over.It is a designated national historic site that has never received any of the many subsidies, services and recognitions normally afforded to such a site and would be threatened by every aspect of the construction process.
  3. In contrast, according to the city’s ‘Downtown Oakland Specific Plan (DOSP)’, the entire district of Chinatown is off-limits to any prospective development downtown. There will be zero high-rises, proposals or permits, or such approved for this district. The Black Arts Movement and Business District is Oakland’s first and only cultural district. We formally request that the entire BAMBD district be zoned out of projected development and experience a moratorium on any current and future development plans except those specifically contributing to its purposes and discussed in public meetings with the Black community.The city has proven it has the ability to enact this form of protection as it has done so before in Chinatown, which is not a registered cultural district such as BAMBD but is treated, respected, and protected as such. Please see the map of development from the DOSP.
  4. The decision to allow this building was made by the Oakland Planning Commission, which is composed entirely of people who make a living working with developers and are, therefore, naturally inclined toward their interests and points of view.
  5. The Planning Department had multiple meetings with Tidewater but said it was too busy to meet with Mr. Pete or his representatives.  They never allowed Mr. Pete to meet to hear the harm to his building the development would cause.
  6. Mr. Pete was required to pay several thousand dollars to appeal the Planning Commission’s decision. The date for the appeal was set at a Rules Committee by a Tidewater representative. It was not agendized and therefore, Mr. Pete was not present to offer his preferred date.
  7. Several weeks ago, Mr. Pete made a Public Records Request for communications between Tidewater. There has been no response.
  8. The city apparently has some process for these appeals, about which Mr. Pete has never been informed. Mr. Colbruno has acknowledged that he and other Tidewater staff have met repeatedly with council members about this issue. However, we are told that council members cannot speak with Mr. Pete because of this unique process.  We believe that many Oakland elected officials want to make Oakland more responsive to the population, particularly the Black community, which is being driven out of the city. It needs to start here.
  9. Uncle Willie’s Barbeque and Fish was literally put out of business and had their building destroyed by the neighboring developers, The Marriott. They are in litigation, but as it stands, the health department has shut down Uncle Willie’s for this reason. Is Geoffrey’s Inner Circle going to be NEXT?
  10. The Council should require a revamp of the Planning Department, and the Mayor should reconstruct the Planning Commission so that it represents native Oaklanders who, such as Geoffrey Pete, have contributed to this city for nearly 40 years.
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Arts and Culture

Kedrick Armstrong: New Music Director for the Oakland Symphony

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director. In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

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Kedrick Armstrong is the new music director for the Oakland Symphony. Photo credit Scott Chernis.
Kedrick Armstrong is the new music director for the Oakland Symphony. Photo credit Scott Chernis.

By Post Staff

The Oakland Symphony Announced Kedrick Armstrong as its Next Music Director.
In addition to conducting the orchestra’s public concerts, Armstrong will also actively participate in the Oakland Symphony’s many education and community engagement programs, designed to inspire a love of music in people of all ages.

Armstrong is the successor to previous music director and Conductor Michael Morgan, who passed away in 2021 after a 30-year tenure at the Symphony.

Armstrong will open the Oakland Symphony 2024-2025 season on October 18.

Armstrong, who is 29 and hails from Georgetown, South Carolina, is currently the creative partner and principal conductor of the Knox-Galesburg Symphony.

The Chicago Tribune has praised Armstrong for his ability to “simply let the score speak for itself.” He enjoys a wide range of repertoire, spanning early music to premiering new works, using his joy and curiosity for all music to cultivate understanding and collaboration within diverse communities.
“I am deeply honored and grateful for the opportunity to serve as the new music director of the Oakland Symphony,” Armstrong said. “As a Black conductor, I find it humbling to stand on the shoulders of both Michael Morgan and Calvin Simmons,” the most recent and the first African American music directors of the Symphony, respectively.

Armstrong led three programs at the Symphony between 2022 and early 2024, which showcased his broad knowledge of the classical repertoire and enthusiasm for spotlighting diverse voices.
On his Oakland Symphony subscription debut on Feb. 16, Armstrong led the world premiere of “Here I Stand: Paul Robeson,” an oratorio by Carlos Simon on a libretto by Dan Harder, commissioned by the Oakland Symphony.

Armstrong was selected unanimously by the Oakland Symphony’s board of directors and musicians after an extensive two-year search.  “The search committee was overwhelmed by Kedrick’s scholarship and curiosity about all kinds of music, from classical and jazz to gospel and hip-hop,” said. Dr. Mieko Hatano, executive director of the Oakland Symphony. “We are thrilled to have him join us at the Oakland Symphony.”

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Arts and Culture

Faces Around the Bay Dr. Carl Blake, Pianist

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999. One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

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Dr. Carl Blake
Dr. Carl Blake

By Barbara Fluhrer

Born in Liberty, Missouri, Carl Blake, a virtuoso and respected pianist, made his most recent migration to the East Bay in 1999.

One might have seen him performing recently at Noontime Concerts in San Francisco, or at the Piedmont Center for the Arts in Oakland. He is Director of Music at The Church for the Fellowship of All Peoples in San Francisco. He was also co-organizer and collaborative pianist at Herbst Theater for The Majesty of the Spirituals concert in 2022 and has held several church positions in the Bay Area.

Blake obtained a Bachelor of Music from Boston University and continued post-baccalaureate studies in Jamaica before earning a Master of Arts in Music at San Jose State University. He was the recipient of two Fulbright residencies in Honduras and completed a third residency at the University of St. Petersburg in Russia. He has a Doctor of Musical Arts from Cornell University.

At age 19, Blake, then an undergraduate piano major at Boston University, was “discovered” by Impresario Dr. W. Hazaiah Williams, who is the Founder and Director of Today’s Artists/Four Seasons Arts.

Williams honored Blake by awarding him the first Marian Anderson Young Artist Award.  Anderson personally presented the award at the Masonic Auditorium in S.F.  Subsequently, Blake was presented by Dr. Williams in his San Francisco debut at The Herbst Theatre. Williams subsidized a year of study abroad for Blake at the Paris Conservatory of Music. Additionally, Williams sponsored Blake’s New York Weill Hall debut, where he has performed twice since.  Blake performed several times at the Yachats Music Festival in Oregon.

Blake continues to perform nationally and abroad. His hobbies are reading, baking and travel. He says, “I’m still pumping ivories, as Belgian pianist Jeanne Stark described the disciplined practice of concert piano.”

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Arts and Culture

Oakland Jazz Great Offers Master Class as City Declares “John Handy Day”

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city. Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

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(L-R) Del Handy, John Handy, Roger Glenn, and Joe Warner celebrate John Handy Day at Geoffrey’s Inner Circle, Oakland. Photo by Lady Bianca.
(L-R) Del Handy, John Handy, Roger Glenn, and Joe Warner celebrate John Handy Day at Geoffrey’s Inner Circle, Oakland. Photo by Lady Bianca.

By Conway Jones

World-renowned jazz master saxophonist John Handy, a McClymond’s High School graduate, was presented with a Mayor of Oakland Proclamation declaring Feb. 12, as John Handy Day in the city.

Handy is most notably known as the featured saxophonist for Charles Mingus on “Goodbye Pork Pie Hat” from the album “Mingus Ah Um” (1959) and on “Hard Work” from his own album “Hard Work” (1976).

“John Handy is a jazz icon and an inspiration to musicians everywhere,” said Ayo Brame, a 16-year-old Oakland tenor saxophone player who is enrolled at the Oakland School for the Arts.

In celebration of this day, the reception in downtown Oakland at Geoffrey’s Inner Circle was a gathering of artists, young and old, coming together in his honor and celebrating his 91st birthday.

Handy presented a Saxophone Colossus free masterclass for musicians. This class afforded a rare opportunity to learn about the saxophone from an aficionado. The class was free and open to all – saxophonists, vocalists, aficionados, students, and casual listeners.

“As a longtime friend for over 60 years, and fellow musician who has had numerous opportunities to share the stage with John, it has always been a pleasure performing with him and hearing his creative interpretations of the music and his gift of ease inspiring the next generation of jazz musicians,” said Roger Glenn, a multi-instrumentalist.

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