Transcription
Extra I:
What's going through my head is you know... Audre Lorde’s, you can't dismantle the Master's house using the Master's tools right? But we got to know what those tools are and we're not clear, and we all live in the Master's house. So like how do we get clear about you know, what dismantling this house looks like and not be using the Master's tools of the urgency of time, of like, it's got to happen today, which is you know, what capitalism is based on is, it’s like, you know, you got to have method, you got to do it now! But like, oh no, the long haul, how are we invested in long haul of.. you know, of shifting this.
Extra II:
I think it's absolutely helped. The Bay Area, geographically, is not small. But I think it's smaller than New York when we think of like, an, you know, an arts community, but I have relationships. And that... really that's the other thing that we don't talk about is like the value of cultivating relationships, relationships with people who are funders who come to your work, who you actually are in conversation with, and people that are gonna end up sitting on panels, who know you, so that, you know, in a room, like, sometimes, what shifts even whether somebody gets something or not, is not necessarily based on what's on the paper, but like, oh, no, I know this person's work. I know what they do. So this is where you have advocates who can testify to what you do. So it's not, we're not just, you know, we got to look at their budget, and we got to look at their outline their project and all this, but then, like, the relationships. The thing that keeps me here is that, you know, is the fact that I have relationships with people. People don't know who I am, they know me, you know what I mean? And that's really different. Nationally, people might start to know my name, but they don't know me. And I live in a community where people know me, and they're not all artists. They're, you know, they're all kinds of people. And that means a lot to me, so I think it's really helped.