#website developer Alameda area

[kammartinez]

When Roxy Music was recording “Street Life” for the 1973 album Stranded, they hung a mic out the window of AIR Studios above Oxford Street, but they didn’t like the results and they ended up mixing in the sounds of a Moroccan market instead. As “Street Life” begins, we hear traffic amid four haunting chords and a shimmering hi-hat rhythm, and then Bryan Ferry belts out that he wishes everyone would leave him alone. He goes out for a walk. “Each verse seems to have its own character,” he later said, “like blocks on a street.” A fan since my youth of early Roxy Music, I still hear that song’s ethereal city vibe when I, too, wish everyone would leave me alone and, like Bryan, hit the streets.

If I go left, heading into what I think of as downtown Echo Park, I glimpse the green folds of the Angeles Crest as I pass Craftsman and Victorian houses and courtyard bungalows. I turn onto Sunset Boulevard, passing barber shops, burger stands, bookstores, and botanicas. I can get my knives sharpened and my shoes repaired, shop for groceries, eat eighty different kinds of food. The streets are full of people of all kinds, even as Echo Park comes twentieth in a walkability ranking of L.A. neighborhoods, according to some website. MacArthur Park, which is more population-dense than parts of Manhattan, ranks higher, as does Hollywood. But here I have the option of avoiding commerce by going three blocks north to the park, where I can walk miles of shaded trails. Or stroll my little residential enclave, where people are sitting on their stoops, a guy is working on his ’68 Camaro, trees are heavy with citrus, softball-size dragon fruits shine redly through a fence. I can walk to Echo Park Lake, due west, entirely through an alleyway, where among overgrown fig trees and sidewalk pulverized to dirt you might think you were in some Mississippi backwater Barry Hannah was describing, but you’re parallel and just behind Sunset. At the lakefront are picnickers, food carts, fishermen creating what my son refers to as “pressure on the lake.” One day I watch a guy and girl furtively produce a pristine white duck from a knapsack and release it. They’ve clearly just bought the thing at a live-poultry shop and are trying to rewild it among the mallards and grebes, but the mission seems also to be a form of courtship.

On these walks, minutes from home, I am certain that Los Angeles, which I moved to from New York twenty years ago, is the most beautiful city in the world (and yes, I have seen the world). But that’s only if I go west or north or south. If I head east, toward downtown, 1.5 miles away, my booster talk ebbs. It’s freeway overpasses, empty lots, and fortress-like buildings, a dead zone.

I should be able to walk to the opera house, Walt Disney Concert Hall, the Broad, the Bradbury Building, or City Hall, to the grand old theaters on Main Street, the jewelry district, Union Station. To Philippe the Original on Alameda, a hundred-year-old deli where undertakers from the nearby mortuaries park their hearses and stop in for a sandwich. To the new Frank Gehry building on Grand, across from my son’s music school. (Late in life, Gehry now seems to believe in design that prioritizes not postmodern showiness but plazas and shade and places for the passerby to sit.) But to get to the pedestrian-friendly world downtown involves several blocks of monolithic residential architecture along freeways, all by the same developer, inward-facing buildings with dark and empty storefronts, bunker parking, and sky bridges. The tenants of these places don’t have to ever step foot on the street. I’ve heard they are mostly USC students, but you don’t see them. The only people I might encounter are unhoused individuals, and those in this particular area often appear to be in severe mental crisis, as they linger beyond buildings that are as obdurate and closed as medieval armories.

Dubbed the Renaissance Collection, these buildings form a plaque that separates the people of Echo Park from downtown L.A. They were built by Geoffrey Palmer, a little man who resembles a ventriloquist’s dummy and is gifted at making enemies. Palmer buys up forlorn and odd plots alongside freeways, where he builds his “Italianate” developments, as Italian as leatherette is leather, but less charming. In 1973, the artist Gordon Matta-Clark purchased random little slices of land around New York City for a conceptual art project he titled Fake Estates. Perhaps the unsavory parcels that Palmer acquires would remain similarly conceptual were it not for the very real fake estates he builds on them. This is his own defense—that he’s building where no one else dares—but he seems to take almost libidinal satisfaction in perching rows of apartment balconies over the 110–101 freeway interchange. The off-white stucco exteriors of his buildings are coated with soot within days of completion. In 2003, he illegally bulldozed the last Victorian of Bunker Hill while building the Orsini, a few blocks from my house. Palmer is vehemently opposed to affordable housing and has spent tens of millions on lawsuits and ballot measures to ensure that he won’t have to build any. He recently settled a class-action suit over systematically keeping tenants’ security deposits. One of Trump’s biggest donors, he has bragged that his company hasn’t paid federal taxes in thirty years. In the fall of 2014, a fire was deliberately started in Palmer’s half-built and wood-framed Da Vinci, a block down from the Orsini. Flames shot higher than many buildings downtown, stretched a city block, melted freeway signs, and cracked one hundred and sixty windows in the iconic John Ferraro Building, headquarters of Water and Power. The consensus among architects, residents, and journalists was that almost anyone could have started the fire, given how many people hate Palmer. City commissioners joked, in a planning meeting, that they sure hoped everyone present had an alibi. The city sued Palmer for the reckless conditions that allowed the blaze to grow so large. The person who started it was caught and sentenced to prison. He supposedly did it for Michael Brown, to protest the police killings of unarmed black men. No one was hurt. The Da Vinci was promptly rebuilt.

“Why is Everything So Ugly?�� wondered a recent editorial in n+1. The editors structured their thoughts on the subject around a Situationist-style dérive they take through New York City. They begin by pondering a new condominium tower limply called the Josh, which has been erected in place of a recently demolished hundred-year-old building. The Josh, they tell us, is made of plastic, concrete, and “an obscure wood-like substance”—materials that have been chosen not for quality and beauty but on the basis of global supply-chain availability, a cookie-cutter design review process, and a cost-saving preference for semi-skilled labor. The Josh is already looking shabby at five months old. When it rains, its façade gets “conspicuously . . . wet.” Their dérive continues past more than one Bank of America, alongside a vape shop, and into a theater, where a shitty franchise based on a TV show of a comic book is playing. After the movie, there’s a run-in with blindingly bright LED lights, resulting in a visit to urgent care.

Google reveals that the building the editors are calling the Josh is actually the Greenpoint—located, as you might guess, in Greenpoint, Brooklyn—but the Josh does more work to illustrate certain ideas than the real name might. I think I know eighteen Joshes. No offense to any of them; I too have a common name and would wager the Josh could have been called the Rachel in the blink of an eye. Still, the Josh has a certain sound when isolated as a branding mechanism, with its soft landing into sshh, whether put to service selling wine or machines for living. I chuckled about the Josh. It, or he, made me think of that guy Tom from MySpace, everyone’s first friend. I imagined Tom living at the Josh, enjoying an industrial salad at a particle-board table. But names are merely symptoms. They are not the cause of “the violence of the new ugliness” that the n+1 editors ponder. Branding arises from standardization. If the things that are made are more or less the same, difference itself must be manufactured.

The Situationists first began undertaking their dérives—which means to drift, to walk without a fixed plan—in response to a rail strike. Guy Debord and others tumbled drunkenly through the night, walking or hitchhiking, and found that the new routes they forged promised a change of orientation, a new outlook. In Debord’s autobiographical Panegyric, at a point in his life when he had lost hope in the city and headed for the hills, he regrets that a “flood of destruction, pollution, and falsification had conquered the whole surface of the planet, as well as pouring down nearly to its very depths.” (Had Debord, too, noticed how wet the Josh was looking?) Five years later he shot himself in the heart. It wasn’t just that everything was ugly and the revolution stalled, if not foreclosed. Alcohol had done him in.

I decided, on a recent afternoon, to conduct my own dérive, straight into the morass between my street and downtown. I left the house, took a right, another right, and then a left over the 101 freeway. If this overpass could talk, I thought. It might tell of the many women and the many nights of flinty bargains with men in cars. By daylight, it was empty. I turned left onto Temple Street, passing a hotel that abuts the 101, and a sun-blasted bus stop where my kid was let off in grade school, and from which he began conducting his own dérives. This block of Temple has a bakery, a liquor store, and until recently, D’Bongo Party Supplies, then falls into a post-human stretch: there is a tow yard, a recycling center, a cul de sac against the freeway where there was a tent encampment until it burned, and a huge and empty bus yard. That’s all on one side of the street. On the other is the massive retaining wall of a high school baseball diamond. The reason there is open land here, greenery, even if it’s chemically treated monograss beyond chain-link, is that this was an oil field, and it isn’t safe to put up buildings. (What look like lampposts around the field are actually vents that allow methane gases to escape.)

Beyond the baseball/methane field, I pass our own version of the Josh, but it’s called the Charlie. The Charlie is new. There used to be an auto repair and car wash here that was run by a family. Now there is a narrow eight-story building in “space gray” with a gaggle of red real estate balloons bobbing on the wind. I have driven past at night. The units are dark, while the Charlie’s eight-story “parking podium” glows meanly, prison-bright.

From the Charlie I cross the street toward a new Palmer monstrosity on a ten-acre site that used to be a Bank of America data center. Construction is not yet finished. The invasive palms that have been chosen as Palmer’s signature “lush Mediterranean landscaping” have just been trucked in and still have their fronds gathered into ponytails. Even with their fronds let down, they will provide no shade. There’s a giant piss-elegant fountain but it’s dry. now renting 2 months free + free parking, a big sign says. The name of this new addition to Palmer’s suite of Italianate freeway rentals is the Ferrante. Maybe the name came from his wife, a Parisian who seems a little more cultured than he is. Perhaps she’s a fan of Elena Ferrante’s books. I have no proof. I’m guessing.

We’ve been told for years now that Elena Ferrante is a fiction, a made-up name, like Tom, or the Josh. But someone is of course writing those books. Whoever they are, they’re talented, but the insistence on anonymity is starting to seem a little showy, even a bit tacky, if not as tacky as the Ferrante and its 1,150 units. I pass its blank row of street-level commercial spaces. Palmer won’t even try to rent them out. And apparently there’s no fine for leaving them empty. As an architect explained to me, he doesn’t build that income into his plans. Why should a developer care if there is street life? I turn left and walk under a highway overpass and approach the rangy back edge of our neighborhood CVS. What does CVS stand for? No one seems to know. Everything you might want to buy there is now locked up, and you have to press what feels like a panic button to get access to the shelves.

I cross through the parking lot, past a weird machine with a tower on it, flashing a blue light. This is some kind of automated security apparatus, but I’m not sure how it works. A barefoot boy asks me for a light. I don’t have one, I tell him.

Remember how outraged everyone was to discover that the author JT LeRoy, supposedly an ethereal rent boy/lot lizard, was actually a middle-aged woman? They acted like this was the ultimate con, something ugly and counterfeit masquerading as something genuine and tragic and hot. Meanwhile, Elena Ferrante is purporting to be a middle-aged woman. What if she’s a teen boy turning tricks in parking lots? I think, as I turn out of the lot and go right on Sunset.

I walk toward Palmer’s Orsini, which lines both sides of the street, all of its commercial space dark and empty and locked. There is no one here except one man in rags setting bits of trash on fire on the sidewalk. Is it Palmer’s fault that people are setting things on fire? It’s more complicated than that. But with no street activity, people act out. Or, their actions are starker, and less muted by a variety of people and vibrancies that a healthy street should reflect. At the end of this very long, sterile block is one other person, a young woman. Her arms are covered with injection scars. She seems not to notice me. She’s in a kind of Sisyphean struggle, attempting to push an e-scooter that is not activated, its wheels on lock.

The next day I drive back down this street, heading to pick up my son from music school. I spot the woman who tried to push the scooter. She’s still here, as if this bleak zone were her proving ground. Her shirt is off now, and she is throwing her half-clothed body against the brick exterior of the Orsini. But the building is constructed not to feel her, the street not to see her, and I barely see her myself, because my light is green.

While parts of the designed world might be ugly at any speed, it is only the slowness of traveling on foot that causes true discomfiture, by forcing a walker to behold, worry over, brood upon, those to whom this ugliness shouts loudest.

[beardedmrbean]

OAKLAND — A big office complex in Oakland has been seized through a foreclosure that slashed the building’s value to one-third of its prior price, fresh evidence of a sickly post-COVID Bay Area real estate market.

The two-building office center is located at 303 and 333 Hegenberger Road in Oakland, a location that’s in a prime corridor and gateway to the city’s airport.

In 2019, an affiliate whose primary member is Walnut Creek-based Vertical Ventures, one of the Bay Area’s savvy real estate investment and development firms, paid $40.6 million for the office complex.

The Landing, as the Oakland office center is known, now appears to be worth considerably less than that following the foreclosure, according to documents filed on June 14 with the Alameda County Recorder’s Office.

Ares Commercial Real Estate Management, the property’s lender that acted through an affiliate, took ownership of the office complex through a foreclosure that valued the building at $14.75 million.

This means that the foreclosure-triggered value for the office complex was 63.7% below the price that was paid for the property in 2019.

The loan that went into foreclosure totaled $37.5 million at the time Ares Commercial Real Estate Management issued the financing to the Vertical Ventures affiliate in 2019.

The office complex totals about 198,200 square feet, according to a marketing brochure that was circulated by Cushman & Wakefield, a commercial real estate firm.

The property consists of an eight-story office building at 333 Hegenberger Road that totals 142,800 square feet and a four-story building at 303 Hegenberger Road that totals 56,000 square feet.

Vertical Ventures described The Landing as an office center at a choice site.

“This is a desirable Oakland location easily accessible from Oakland International Airport and Interstate 880,” Vertical Ventures stated on its website as of this week.

[kamreadsandrecs]

When Roxy Music was recording “Street Life” for the 1973 album Stranded, they hung a mic out the window of AIR Studios above Oxford Street, but they didn’t like the results and they ended up mixing in the sounds of a Moroccan market instead. As “Street Life” begins, we hear traffic amid four haunting chords and a shimmering hi-hat rhythm, and then Bryan Ferry belts out that he wishes everyone would leave him alone. He goes out for a walk. “Each verse seems to have its own character,” he later said, “like blocks on a street.” A fan since my youth of early Roxy Music, I still hear that song’s ethereal city vibe when I, too, wish everyone would leave me alone and, like Bryan, hit the streets.

If I go left, heading into what I think of as downtown Echo Park, I glimpse the green folds of the Angeles Crest as I pass Craftsman and Victorian houses and courtyard bungalows. I turn onto Sunset Boulevard, passing barber shops, burger stands, bookstores, and botanicas. I can get my knives sharpened and my shoes repaired, shop for groceries, eat eighty different kinds of food. The streets are full of people of all kinds, even as Echo Park comes twentieth in a walkability ranking of L.A. neighborhoods, according to some website. MacArthur Park, which is more population-dense than parts of Manhattan, ranks higher, as does Hollywood. But here I have the option of avoiding commerce by going three blocks north to the park, where I can walk miles of shaded trails. Or stroll my little residential enclave, where people are sitting on their stoops, a guy is working on his ’68 Camaro, trees are heavy with citrus, softball-size dragon fruits shine redly through a fence. I can walk to Echo Park Lake, due west, entirely through an alleyway, where among overgrown fig trees and sidewalk pulverized to dirt you might think you were in some Mississippi backwater Barry Hannah was describing, but you’re parallel and just behind Sunset. At the lakefront are picnickers, food carts, fishermen creating what my son refers to as “pressure on the lake.” One day I watch a guy and girl furtively produce a pristine white duck from a knapsack and release it. They’ve clearly just bought the thing at a live-poultry shop and are trying to rewild it among the mallards and grebes, but the mission seems also to be a form of courtship.

On these walks, minutes from home, I am certain that Los Angeles, which I moved to from New York twenty years ago, is the most beautiful city in the world (and yes, I have seen the world). But that’s only if I go west or north or south. If I head east, toward downtown, 1.5 miles away, my booster talk ebbs. It’s freeway overpasses, empty lots, and fortress-like buildings, a dead zone.

I should be able to walk to the opera house, Walt Disney Concert Hall, the Broad, the Bradbury Building, or City Hall, to the grand old theaters on Main Street, the jewelry district, Union Station. To Philippe the Original on Alameda, a hundred-year-old deli where undertakers from the nearby mortuaries park their hearses and stop in for a sandwich. To the new Frank Gehry building on Grand, across from my son’s music school. (Late in life, Gehry now seems to believe in design that prioritizes not postmodern showiness but plazas and shade and places for the passerby to sit.) But to get to the pedestrian-friendly world downtown involves several blocks of monolithic residential architecture along freeways, all by the same developer, inward-facing buildings with dark and empty storefronts, bunker parking, and sky bridges. The tenants of these places don’t have to ever step foot on the street. I’ve heard they are mostly USC students, but you don’t see them. The only people I might encounter are unhoused individuals, and those in this particular area often appear to be in severe mental crisis, as they linger beyond buildings that are as obdurate and closed as medieval armories.

Dubbed the Renaissance Collection, these buildings form a plaque that separates the people of Echo Park from downtown L.A. They were built by Geoffrey Palmer, a little man who resembles a ventriloquist’s dummy and is gifted at making enemies. Palmer buys up forlorn and odd plots alongside freeways, where he builds his “Italianate” developments, as Italian as leatherette is leather, but less charming. In 1973, the artist Gordon Matta-Clark purchased random little slices of land around New York City for a conceptual art project he titled Fake Estates. Perhaps the unsavory parcels that Palmer acquires would remain similarly conceptual were it not for the very real fake estates he builds on them. This is his own defense—that he’s building where no one else dares—but he seems to take almost libidinal satisfaction in perching rows of apartment balconies over the 110–101 freeway interchange. The off-white stucco exteriors of his buildings are coated with soot within days of completion. In 2003, he illegally bulldozed the last Victorian of Bunker Hill while building the Orsini, a few blocks from my house. Palmer is vehemently opposed to affordable housing and has spent tens of millions on lawsuits and ballot measures to ensure that he won’t have to build any. He recently settled a class-action suit over systematically keeping tenants’ security deposits. One of Trump’s biggest donors, he has bragged that his company hasn’t paid federal taxes in thirty years. In the fall of 2014, a fire was deliberately started in Palmer’s half-built and wood-framed Da Vinci, a block down from the Orsini. Flames shot higher than many buildings downtown, stretched a city block, melted freeway signs, and cracked one hundred and sixty windows in the iconic John Ferraro Building, headquarters of Water and Power. The consensus among architects, residents, and journalists was that almost anyone could have started the fire, given how many people hate Palmer. City commissioners joked, in a planning meeting, that they sure hoped everyone present had an alibi. The city sued Palmer for the reckless conditions that allowed the blaze to grow so large. The person who started it was caught and sentenced to prison. He supposedly did it for Michael Brown, to protest the police killings of unarmed black men. No one was hurt. The Da Vinci was promptly rebuilt.

“Why is Everything So Ugly?” wondered a recent editorial in n+1. The editors structured their thoughts on the subject around a Situationist-style dérive they take through New York City. They begin by pondering a new condominium tower limply called the Josh, which has been erected in place of a recently demolished hundred-year-old building. The Josh, they tell us, is made of plastic, concrete, and “an obscure wood-like substance”—materials that have been chosen not for quality and beauty but on the basis of global supply-chain availability, a cookie-cutter design review process, and a cost-saving preference for semi-skilled labor. The Josh is already looking shabby at five months old. When it rains, its façade gets “conspicuously . . . wet.” Their dérive continues past more than one Bank of America, alongside a vape shop, and into a theater, where a shitty franchise based on a TV show of a comic book is playing. After the movie, there’s a run-in with blindingly bright LED lights, resulting in a visit to urgent care.

Google reveals that the building the editors are calling the Josh is actually the Greenpoint—located, as you might guess, in Greenpoint, Brooklyn—but the Josh does more work to illustrate certain ideas than the real name might. I think I know eighteen Joshes. No offense to any of them; I too have a common name and would wager the Josh could have been called the Rachel in the blink of an eye. Still, the Josh has a certain sound when isolated as a branding mechanism, with its soft landing into sshh, whether put to service selling wine or machines for living. I chuckled about the Josh. It, or he, made me think of that guy Tom from MySpace, everyone’s first friend. I imagined Tom living at the Josh, enjoying an industrial salad at a particle-board table. But names are merely symptoms. They are not the cause of “the violence of the new ugliness” that the n+1 editors ponder. Branding arises from standardization. If the things that are made are more or less the same, difference itself must be manufactured.

The Situationists first began undertaking their dérives—which means to drift, to walk without a fixed plan—in response to a rail strike. Guy Debord and others tumbled drunkenly through the night, walking or hitchhiking, and found that the new routes they forged promised a change of orientation, a new outlook. In Debord’s autobiographical Panegyric, at a point in his life when he had lost hope in the city and headed for the hills, he regrets that a “flood of destruction, pollution, and falsification had conquered the whole surface of the planet, as well as pouring down nearly to its very depths.” (Had Debord, too, noticed how wet the Josh was looking?) Five years later he shot himself in the heart. It wasn’t just that everything was ugly and the revolution stalled, if not foreclosed. Alcohol had done him in.

I decided, on a recent afternoon, to conduct my own dérive, straight into the morass between my street and downtown. I left the house, took a right, another right, and then a left over the 101 freeway. If this overpass could talk, I thought. It might tell of the many women and the many nights of flinty bargains with men in cars. By daylight, it was empty. I turned left onto Temple Street, passing a hotel that abuts the 101, and a sun-blasted bus stop where my kid was let off in grade school, and from which he began conducting his own dérives. This block of Temple has a bakery, a liquor store, and until recently, D’Bongo Party Supplies, then falls into a post-human stretch: there is a tow yard, a recycling center, a cul de sac against the freeway where there was a tent encampment until it burned, and a huge and empty bus yard. That’s all on one side of the street. On the other is the massive retaining wall of a high school baseball diamond. The reason there is open land here, greenery, even if it’s chemically treated monograss beyond chain-link, is that this was an oil field, and it isn’t safe to put up buildings. (What look like lampposts around the field are actually vents that allow methane gases to escape.)

Beyond the baseball/methane field, I pass our own version of the Josh, but it’s called the Charlie. The Charlie is new. There used to be an auto repair and car wash here that was run by a family. Now there is a narrow eight-story building in “space gray” with a gaggle of red real estate balloons bobbing on the wind. I have driven past at night. The units are dark, while the Charlie’s eight-story “parking podium” glows meanly, prison-bright.

From the Charlie I cross the street toward a new Palmer monstrosity on a ten-acre site that used to be a Bank of America data center. Construction is not yet finished. The invasive palms that have been chosen as Palmer’s signature “lush Mediterranean landscaping” have just been trucked in and still have their fronds gathered into ponytails. Even with their fronds let down, they will provide no shade. There’s a giant piss-elegant fountain but it’s dry. now renting 2 months free + free parking, a big sign says. The name of this new addition to Palmer’s suite of Italianate freeway rentals is the Ferrante. Maybe the name came from his wife, a Parisian who seems a little more cultured than he is. Perhaps she’s a fan of Elena Ferrante’s books. I have no proof. I’m guessing.

We’ve been told for years now that Elena Ferrante is a fiction, a made-up name, like Tom, or the Josh. But someone is of course writing those books. Whoever they are, they’re talented, but the insistence on anonymity is starting to seem a little showy, even a bit tacky, if not as tacky as the Ferrante and its 1,150 units. I pass its blank row of street-level commercial spaces. Palmer won’t even try to rent them out. And apparently there’s no fine for leaving them empty. As an architect explained to me, he doesn’t build that income into his plans. Why should a developer care if there is street life? I turn left and walk under a highway overpass and approach the rangy back edge of our neighborhood CVS. What does CVS stand for? No one seems to know. Everything you might want to buy there is now locked up, and you have to press what feels like a panic button to get access to the shelves.

I cross through the parking lot, past a weird machine with a tower on it, flashing a blue light. This is some kind of automated security apparatus, but I’m not sure how it works. A barefoot boy asks me for a light. I don’t have one, I tell him.

Remember how outraged everyone was to discover that the author JT LeRoy, supposedly an ethereal rent boy/lot lizard, was actually a middle-aged woman? They acted like this was the ultimate con, something ugly and counterfeit masquerading as something genuine and tragic and hot. Meanwhile, Elena Ferrante is purporting to be a middle-aged woman. What if she’s a teen boy turning tricks in parking lots? I think, as I turn out of the lot and go right on Sunset.

I walk toward Palmer’s Orsini, which lines both sides of the street, all of its commercial space dark and empty and locked. There is no one here except one man in rags setting bits of trash on fire on the sidewalk. Is it Palmer’s fault that people are setting things on fire? It’s more complicated than that. But with no street activity, people act out. Or, their actions are starker, and less muted by a variety of people and vibrancies that a healthy street should reflect. At the end of this very long, sterile block is one other person, a young woman. Her arms are covered with injection scars. She seems not to notice me. She’s in a kind of Sisyphean struggle, attempting to push an e-scooter that is not activated, its wheels on lock.

The next day I drive back down this street, heading to pick up my son from music school. I spot the woman who tried to push the scooter. She’s still here, as if this bleak zone were her proving ground. Her shirt is off now, and she is throwing her half-clothed body against the brick exterior of the Orsini. But the building is constructed not to feel her, the street not to see her, and I barely see her myself, because my light is green.

While parts of the designed world might be ugly at any speed, it is only the slowness of traveling on foot that causes true discomfiture, by forcing a walker to behold, worry over, brood upon, those to whom this ugliness shouts loudest.

[hakesbros]

40 Leebarry Lane, Las Cruces, Nm, 88012

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[nahimjustfeelingit-writes]

Imagine:

Erik walks in on his homeboys sister stepping out of the shower and she is embarrassed/ has a huge crush on him.

Warnings: Smut. Flash back.

Micheal and Yara.

Two siblings from Oakland who decided to get an apartment near Telegraph Ave so that Yara could study at Berkeley. Yara is currently studying Art History there and she will be graduating in May at the age of 21. Micheal, her older brother, is into graphic design and web development so he works for a small company creating websites for Architectural businesses. He also does free lance work on the side to earn extra cash so he can afford living in their expensive apartment. Micheal and Yara’s parents are divorced. Their father lives in San Francisco city and their mother lives where Micheal and Yara are with her new husband in Alameda County. Yara used to live with her mother but she didn’t get along with her step father. Micheal brought up the idea of sharing an apartment to Yara since his on-again, off-again girlfriend, Evette decided that she didn’t want to move in with him. 

Currently, Micheal and Evette are arguing about Micheal's whereabouts last Friday evening. Yara was trying to take a nap in her room before her late shift at 9:00 PM as a bar tender. Tossing and turning in her bed covered in fluffy white sheets, Yara groaned loudly before throwing her sheets back, temples pounding with a tension headache that Yara tries to sooth by massaging them but it doesn’t work. Only in a Metallica T-shirt, Yara grabs a pair of Champions sweatpants from her dresser, sliding her feet in her canary yellow UGG slippers, and walking out of her bedroom. Yara’s eardrums damn near bust when she stepped into the hallway of the apartment. Rubbing the cold from her eyes, Yara walked out into the living room area coming face to face with the source of the commotion.

“STOP LYING!” Evette, Short, petite, reminded Yara of Keyshia Cole because of her bright red hair and nose piercing, tossed a decorative pillow at Micheal from across the room. Micheal caught it with his quick reflexes before placing it back on the couch. He didn’t appear bothered at all by Evette’s screaming and hollering.

“Evette, I ain’t got nothing to lie about. I told you, I was with my boy, Erik. He’s back in town for a little while before he goes back to the Military,” Micheal spoke with a flat tone, eyes bored.

“I don’t believe you. I think you were with some girl. I think you’re out here sticking your dick in some other bitch. When I find out, I’m beating both of yall ass, for real,” Evette threatens Micheal with one of her long acrylic hot pink nails almost jabbing him in the eye. 

“This ain’t the first time you accused me of cheating,” Micheal ran his hands down his face, “It’s really getting on my nerves, Evette. The constant trying to go through my phone, picking fights with me, the insecurities. What do I have to lie about? I could have dropped you years ago but no, I care about you too much to do that. Now, I’m just tired of you acting like a damn child.”

“Ahem,” Yara clears her throat.

Micheal and Evette turn towards her.

“Do y’all mind taking this shit somewhere else? I have to work tonight and I can’t sleep with all this yelling.”

“Hi to you too, Yara,” Evette spoke sarcastically.

“Bitch, don’t give me attitude. Do you pay the bills in here?” Yara has her fists balled up like she was ready to hit Evette. Evette simply laughs, staring at Yara like she’s a joke before turning her attention back to Micheal.

“My bad, little sis, Evette was just leaving-“

“WHAT?” Evette’s voice grew loud again.

“You heard me. Bounce. If you don’t trust me I can’t deal with you, Evette.”

Evette folds her arms across her perky chest, “Do you actually mean it this time around or will you be calling me tomorrow night asking to come over? you are famous for that shit, Mike.”

Micheal groans, “I don’t know right now. All I know is I need you to leave so I can clear my head, you know what I’m saying?”

“Okay, clear your head, GOTCHA,” Evette turns around, practically stomping to the door, “Lying ass piece of shit.”

“Don’t slam the door either!”Micheal yells.

BAM!

“Yeah,” Micheal closes his eyes to calm himself.

“You’re better than me. I feel like following her and kicking that bitch down the steps. You need to drop her, Mike. Do you even see what’s going on?”

“Nah, baby sis, tell me what’s up? What am I NOT seeing?”

Yara tilted her head at Micheal with sad eyes. Micheal shrugged his shoulders as if he didn’t understand what Yara was trying to tell him without using words.

“You can be so damn thick-headed sometimes,” Yara threw her hands up matter-of-factually, “Evette is cheating on you, Mike. She’s just trying to give you a reason to end things so she can continue fucking whoever she is fucking without you knowing.”

“Wait...what?” Micheal says with disbelief.

“You’re Girl? The love of your life? She’s fucking someone else, Mike.”

Micheal blinked at Yara with bewildered eyes.

“Listen, fool, while you’re sitting there stuck on stupid, Evette is driving to a dick appointment trying to think of a plan B to get rid of yo’ ass. Just end it with her. The shit is toxic. I don’t even want a nigga to step into my personal space after witnessing the shit you and Evette go through.”

“If Evette is cheating on me...” Micheal didn’t finish his sentence but Yara knew her brother would bring hell to earth if he caught Evette fucking another man. As much as they bickered and broke up, Evette was her brothers first real love. He wouldn’t admit it, but Micheal would be heart broken.

“Then I’m going to whip her ass,” Yara said in her brothers defense, “Nobody fucks with my bro like that.”

“I’ll let you beat her ass too.”

Yara kisses her brothers forehead, “I’m going to go back in bed, I am so exhausted with school- hold up, did you say that you were with Erik?”

“Yeah,” Micheal said whole scrolling through his phone, “He’s back for a little while.”

“I haven’t seen Erik in, like, three years?”

“Yeah, it’s been a long ass time. I thought he forgot about us,” Micheal laughs, “He’ll be here later if you want to catch him before you go to work.”

“Mama was asking about him a few days ago,” Yara says recalling the conversation they both had when she went to visit her. Micheal and Yara’s mother always pulled the photo albums out whenever they came to see her. The photo album she brought out when Yara came over was Micheal’s prom photos. Micheal and Erik went to prom together their senior year.

“Look at Erik! Wasn’t he so skinny?!” Yara’s mama says.

“Yeah, mama, he was swimming in his suit.”

Yara’s eyes twinkled when she stared at Erik’s photo. Her first ever crush. The guy she kissed on a whim when she was 18 and he was 24. Yara felt so embarrassed. Erik simply gave her a kind smile, hugging her tightly. She felt like a silly child. Erik was a grown man. Ever since then, Yara hadn’t seen Erik.

“You Aight?” Micheal looked over at Yara with a smirk.

“I’m fine.”

Yara couldn’t stop thinking about her brothers friend who used to spend the night when they were kids. His friend who wore only a pair of basketball shorts when he slept. His friend who used to stand in Yara’s doorway to her bedroom teasing her.

“You’re not lying to me, are you?”

“No, I’m not,” Yara looked off to the side.

“When you look away like that it’s a sign that you’re lying. You ain’t gotta tell me, it’s probably some nasty shit that I really don’t want to know anyway.”

“Shut up, Mike,” Yara rolls her eyes, turning away to walk back to her room with her middle finger raised behind her, directed towards her brother.

——————

A few hours later:

Erik Stevens stepped off of the elevator within Micheal and Yara’s apartment building on Telegraph Ave. kinky fro freshly shaped up and a new fit and shoes on his feet, Erik checked his text message from Micheal that informed him of what apartment it is.

“9C,” Erik places his phone back inside of his jacket pocket, eyes searching from left to right before spotting the crisp white door with a bronze letter C on it and a tiny peep hole. Erik knocks, the gold Piaget watch on his right wrist making a loud tapping sound against the surface of the door. In under two seconds, Micheal opens the door, a broad smile on his handsome chocolate face when he noticed who it was.

“What’s up, cuz?” Micheal gave Erik dabs, “I ain’t expect you to be over this early, bruh, you good?”

“I’m good, I just needed to get away from CeCe. You know she offered for me to stay at her new place instead of a hotel.”

“You know you have to tell me about all of that, right?” Micheal jokes, holding his door open further for Erik to enter. Erik steps inside, his eyes admiring the urban styled apartment. It was Boho vintage with different shades of browns, greens, and reds. The living room was decorated and furnished with cream colored walls, Urban photographs of Oakland, cactus plants, a standout leather sofa set in a dessert brown color accompanied with khaki colored patch work leather ottomans and an elegantly modern coffee table featuring a round metal tabletop in a brushed, antique brass finish. 60 inch flat screen TV, an acacia wood credenza that Erik was sure is filled with old 70s and 80s records.

“Shit, let me take my shoes off, I don’t want to mess up this nice carpet,” Erik kicks his shoes off near the front door.

“You can put them in that shoe rack right there if you want. Yara got that from the thrift store about a week ago.”

Erik looks up at Micheal with expectant eyes, “Little Yara? She lives with you? what happened with Evette?”

“Long story, bro, Yara and I decided to get a place together close to Berkeley and I work for that new company I was telling you about last weekend so we can commute easier. Plus, you know moms live near us too.”

“Yeah, yeah. So, what is little Yara studying at Berkeley?”

Micheal smiles like a proud older brother, “Art History. She wants to become a Curator.”

“I’ve always seen her working in a museum. She loves history so much,” Erik reminisced with a slight smirk, “Is she here?”

“Straight back there-Wait.”

Erik was ready to rush back to see her.

“Let me see if she’s decent. She gotta work in about a few hours.”

“No problem, bruh, I’ll chill out here.”

Erik watches Micheal walk to the back of the apartment where the rooms are. Taking a seat on the leather couch, Erik strokes his beard, thinking about Yara. He hadn’t seen her in three years. He wondered how different she looked. By different he meant mature and filled out like a women. Back when she was just 18 years of age, Yara was so petite and athletic since she played Lacrosse, braces on her teeth, and so sweet and innocent. From what Micheal told Erik last weekend when they went out to a Hookah bar for Boys night, Yara gained weight. Micheal joked about it, typical sibling teasing, but Erik wished he could have seen a picture. Now, his mind went back to when Yara kissed him the night of her graduation party before Erik left to start his JSOC training. He honestly didn’t know how to respond. Yara looked like her world came crashing down when he didn’t reciprocate the same feelings. She was much younger than him, Erik has her by six years. She was 18 and he was 24. Yeah, Yara was legal but it still felt weird. He always knew little Yara had a crush on him and he surely didn’t want Micheal to know about it.

“She’s still asleep,” Micheal walked back out with a generous bag filled with an eighth of top-shelf weed, “You want to smoke a blunt and tell me about this bitch named CeCe?”

———————

Yara. Don’t forget. The history project is due tomorrow night. Since you’re group lead, you have to submit it.

Yara rolls her eyes at the group chat she was in with her fellow History classmates. That assignment was the last thing on her damn mind. Yara closes her Mac, stretching her curvy body out like a cat before getting up from her comfy bed. Like a strong wind, the smell of kush hit her nose. Yara noticed that her bedroom door is cracked. Micheal must have come to check on her. Yara slips on a pair of Champion Reverse Weave drawstring shorts that were folded on the end of her bed in a pink color, bed hair and all, walking out of her room and towards the living room. When she entered the hallway, two male voices could be heard. It finally dawned on Yara who the other male present could be.

Erik.

Yara walks to the bathroom, deciding to wipe her face off and brush her teeth. She still needed to shower but that could wait until she ate something. Admiring her hair, Yara reaches up to pull her hair tie from her curly hair, fluffing it out and shaking her head so it wouldn’t look like she just rolled out of bed. Yara then brushes her teeth, using her water closer afterwards. Satisfied, Yara takes in a deep breath to try and calm the butterflies in her stomach before walking out of the bathroom and towards the living room area.

“So, you’re telling me that CeCe is trying to hook you up with someone? why are you there?”

“You know she likes playing match made in heaven. CeCe is cool, Mike, I know me and her used to fuck around before I left but it ain’t even like that now. Just a friend helping out a friend. No big thing.”

Micheal chuckles, “E, I know you, man. You had all that pussy around you to play with and you ain’t have a taste? Nigga-“

“Like I said, nah. I don’t want that anymore or her friend she’s trying to get me with. Her friend just wants to know how the dick CeCe used to get is really about. You can look at me like that all you want. Everything is temporary. I’m shopping for a house right now-“

“You can just sleep on our couch-“

“I’m too big for this fucking couch,” Erik laughs, “Once my house is built from the ground up, you’ll see that it was all worth it. And you know I can’t stay with our other friends they gon’ get me caught up and I don’t need to be in jail.”

Erik takes a puff of weed before handing it over to Mike.

Micheal accepts the weed, instantly smoking it before letting the smoke out from his nose, “You’re a changed man, E. Got a house in the works, left the hood to pursue your dreams of being this J.I Joe motherfucker,” Erik playfully jabs Micheal in his ribs, “Seeiously, man, I’m proud of you. Wait until Yara sees you, bruh.”

Erik licks his lips before raising a single brow, “What you mean by that?

“She ain’t gonna believe this the same Erik from three years ago. What you do? Get inside of the same machine as Captain America?”

“Funny, nigga.”

Yara didn’t reveal herself just yet. She just wanted to hear him talk. Erik’s voice definitely appeared deeper. Raspy, then husky, then deep and gruff. When he genuinely laughed it was still just as light as before. Yara peeked out into the living room. A tiny gasp escaped her mouth. Kinky fro, muscles, facial hair, and tiny scars on his arms is what she noticed first. Micheal was right, this was Erik 2.0. Then, whenever he talked; those lush lips moving, Yara saw gold canines in his mouth. He looked so rough and scruffy. The Military definitely made him harder.

“Yara, stop being nosy!” Micheal yells. Yara almost jumped where she stood. She was so in tune with her thoughts that she hadn’t realized how close she’d gotten into the living room.

“Shut up Mike!” Yara fired back. With nervous eyes, Yara looked over at Erik. He didn’t speak, all he did was look fixedly at her with his eyes wide open. It was as if time stood still and she was the only thing that mattered in that room. Even the weed in Erik’s hand could burn to ash.

“Hi, Erik,” Yara couldn’t stop herself from grinning when Erik smiled at her with his dimples.

“Little Yara, what’s going on girl!” Erik hands Micheal the blunt back before standing from the couch, walking over to Yara with his arms outstretched for her to give him a big hug. Yara walks up to Erik, giggling nervously before bringing her arms around his waist, squeezing him. Erik rocked Yara back and forth while his chin rested on top of her curly head. Erik then brings his lips down to kiss Yara’s forehead before pulling her away to get a good look at her.

Heart shaped face, dimple in her chin, glittering eyes fringed with long eyelashes that reminded him of maple syrup, silken skin like cinnamon, ebony ringlets that made her thick but arched brows pop, lips full and glossy with a prominent Cupid’s bow. Erik’s eyes burned with desire when he gazed at Yara’s voluptuous, curvy, ample, and generous body. She really filled out from the last time he saw her. Mike can joke all he wants but Yara looked...

Erik covered his eyes with his hands, a suppressed laugh escaping his mouth before he opened his arms wide for her to hug him again. Yara giggles, stepping back into his embrace again to accept his hug. He smelled like patchouli. Tall, brawny, chiseled, broad-shouldered, and hulking, Yara couldn’t get over how comfortable she felt within Erik’s embrace. The deep baritone of his voice made her shiver.

“Look at you girl, all grown up. Crazy how that happened in three years, right?”

“That’s what I’m saying,” Yara turned her face away timidly, “So, how is the Military treating you? I mean...” Yara looks Erik up and down with a shake of her head, “It seems like it’s treating you nice. Go hard or go home, right?

“Treating me like I’m a piece of shit but it’s worth it,” Erik laughs, “The Military transformed me.”

Yes it did

“You do look great, I almost didn’t recognize you sitting on that couch. The hair, the muscles, the scars...”

Yara looked at them, her hand extending out suddenly to touch a row of scars that looked freshly raised against his skin.

“Don’t.”

Yara jolted upright, her hand jerking away. His voice and the look he gave her had her shrank in front of him.

“Shit, my bad, girl. You don’t want to touch these. Bad memories. That’s all, little Yara, I’m sorry.”

“It’s...it’s okay,” Yara steps away, shifting from one foot to the other, “Good to see you though, Erik.”

“You too, girl,” Erik scratched his beard before reluctantly turning away from Yara to take his seat next to Micheal on the couch. Yara watched him walk away while tucking a lock of hair behind her ear. The way they greeted eachother felt so different. Erik wasn’t only physically changed, He’s mentally changed too.

“Shouldn’t you be getting ready for work?” Micheal stretched his slender tattoo covered arms above his head.

“Yeah, but I’m hungry so,” Yara rubbed her hands on her thighs to get rid of the sweat before walking away and into the kitchen. Yara finally exhaled when she entered the kitchen after holding her breath while walking past Erik. The kitchen was open and you could peek into the living room. Erik was sitting directly across from Micheal staring straight ahead at Yara while smoking his blunt. He tilted his head at her while half listening to Micheal talk about Evette. Yara turned her face away, grabbing a loaf of wheat bread from the counter to make herself a PB&J sandwich.

“Little sis, what you cooking up in there?”

“Nothing for you,” Yara spread strawberry jam on her bread, “Why don’t you order in?”

“I was thinking about it, E, I’ma make a liquor run real quick, you want anything?”

“I got some good stuff in the car I can grab, you aint gon’ drink it so don’t even ask.”

“Yeah, I like my own shit,” Micheal stood from the couch, walking towards the back of the apartment to his room. It was silent minus the low TV and Yara washing the butter knife she used to make her sandwich. Erik leaned back into the leather couch, crossing his arms over his solid chest. He watched Yara walk over to the trash can to toss a paper towel in the trash that she most likely used to clean up crumbs or spilled jam. Erik has a great view of Yara’s thick ass bending over, her drawstring shorts raising up her thighs and getting caught between her ass cheeks. Such a beautiful sight has Erik’s brows knitted as he gave her a once-over. At that particular moment, Yara looked back at him as if she could feel his eyes boring into her.

“Hi.” She spoke in a trembling tone.

“Hi, back,” Erik says suggestively.

“Did Mike leave yet?”

“Nah-“

“Aight, I’ll be back, y’all good? Need anything?” Micheal was back with a hoodie on, a dad cap, and a pair of vans on his feet.

“Can you stop by that corner market that sells those organic fruits? I want some mangos.” Yara yelled from the kitchen.

Micheal grabbed the door knob, pausing, “I’m making a liquor run too.”

“Oh! I want some Hypnotiq.”

“Cool, you, E?”

“We can order in when you get back, I’m good.”

“Bet, I’ll be back.”

Micheal exits.

“Mike still just as skinny as he was since the last time I saw him” Erik laughs.

“Yeah, he can eat but it goes nowhere. Me, I gained all the weight in the world.”

Erik gave Yara a dismissive wave of his hand, “Girl, you look good. Ain’t nothing wrong with the weight you put on.”

Yara giggles, popping a green grape in her mouth, “Thank you.”

“No problem,” Erik craned his neck to try and see her, “Why don’t you come in here and eat. Over there hiding and shit from a nigga.”

“Okay,” Yara got up from the dining room table, walking through the kitchen and entering the living room. She decided to sit her plump bottom on the floor while using one of the leather ottomans as a surface for her grapes and half eaten sandwich.

“So, how have you been?” Erik asked while rolling a new blunt.

“I’ve been doing just fine. Ready to graduate honestly.” Yara nervously rubbed her shoulder before gazing at Erik, “You?”

“Busy, busy, busy,” Erik’s onyx eyes landed on hers before looking back at his blunt, “Just traveling, training, that’s about it.”

“Oh,” Yara massaged the back of her neck, “Does those scars have anything to do with it?”

“Partly, yeah.”

“I see,” Yara admires them, “They look...they don’t look like typical scars.”

“That’s because they’re not.” Erik spoke in a flat tone.

“Let me just, stop asking,” Yara laughs awkwardly.

Erik chuckles, “It’s not a subject I rather talk about with you, Little Yara.”

“I understand. I won’t pry.”

“Cool,” Erik takes a hit of his blunt, cheeks blowing out as they filled with smoke, “Seeing anybody?”

“Nope. I haven’t for the past three months. Been trying to stay focused. Men are a distraction.”

“Y’all women are too,” Erik laughs, smoke escaping his nose.

Yara cocked her head, “So, my guess is you aren’t seeing anyone either.”

Erik licks his lips, “I don’t have time for that.”

“Does that include sex too?”

Erik clapped his hands together while chuckling, “Ahhhh, shit, Yara, did you just ask me about my sex life? Are you having sexxxxxxx?!

“I did. And I’m grown, ERIK, so yes, I’m having sex,” Yara gave a half shrug while rolling her eyes.

“21, right? I remember when I was 21. Legally can drink now and everything. Too bad you still can’t hang with us,” Erik chuckles.

Yara gave Erik the finger, “fuck you, don’t play with me like that.”

“I’m just saying, I remember you graduating high school the last time I saw you. Now you’re in your 20s, barely.”

Yara lowered her head, “Will you always remember me like that? Like DAMN, I did grow up, nigga.”

Erik noticed the attitude in her voice, “You’re mad at me?”

“Just annoyed,” Yara stood up, grabbing her food, “I’m gonna eat in my room so I can look over this project I have to submit tomorrow. I’ll see you later, Erik.”

Confused, Erik watched Yara practically storm away. He didn’t understand why his words offended her so much. It’s just what Erik is used to. He’s used to seeing Yara so young not a 21 year old adult. It was all still so new to him. Deciding not to chase after her, Erik gets up from the couch to retrieve his shoes so he could grab his drink from his car.

———————

Yara couldn’t even focus.

She was really bothered by Erik’s comments.

It was mainly because every time he cracked jokes she thought about her kissing him. He probably cracked jokes about that too. Clearly, Erik couldn’t look past the fact that Yara is Mike’s little sis. She really thought he was past that when he first laid eyes on her. She could tell what a look of lust was in a man’s eyes since Yara often receives that look. Erik’s eyes were gleaming with desire and attraction. He almost looked shocked that it was Yara. Then, the way he looked her up and down. His eyes damn near gaped when she noticed him staring while she was in the kitchen. Pupils flared and all. Now, it was as if he was trying to hide the attraction he has towards her after three years. Yara was disappointed honestly. She always thought the next time she ever saw Erik they would honestly re-do that kiss and possibly have sex. If Yara had the choice to go back and lose her virginity it would have been with Erik.

Glancing at her phone, Yara noticed it was around 7:45 PM. Luckily, the bar she worked at wasn’t too far from her. Yara didn’t drive so she usually walked or caught an Uber. Lifting from her soft and fluffy floor cushion, Yara grabs her white cotton towel and soap sponge to take a shower. Leaving her room, she could hear Erik watching a basketball game. Yara closes her bedroom door, walking across to the bathroom, closing the door behind her softly. She began to undress, stripping her clothes from her body into a wrinkled pile on the floor near the sink. Opening the medicine cabinet, Yara grabs her Dove sensitive skin body wash and exfoliating spin brush. She couldn’t stop herself from thinking about Erik being in the living room right now while she was naked in the bathroom. There was no way Yara could ignore the growing dampness between her legs. She hadn’t been wet to the thought of Erik in a very long time.

Luke warm water running, Yara pulled the tribal patterned shower curtain back, stepping inside carefully not to slip on the the shower mat, then closing the curtain behind her. Yara forgot to pin her hair up but she needed to wash her hair anyway so she allowed it to grow wet while she wet her body completely. Grabbing her exfoliating brush and the body wash, Yara applied the body wash to her curvy body, turning on her brush and in a circular motion, began to cleanse her skin from the neck down. She had a separate skin care routine and a spin brush for that as well. Yara lifts her leg on the side of the tub to wash behind her thighs, the warm water running down her ass and to her pussy. Yara felt extra tingly between her legs. She didn’t have time to rub off in the shower and she forgot her favorite vibrator in her bed room. Groaning, Yara tried to ignore it as best as she could while scrubbing the top of her feet.

————————

Erik sat cross-faded with his eyes sitting low. The basketball game was just background noise for him. Bored out of his mind, Erik really wanted to go and talk to Yara. He didn’t want to approach her on some awkward shit but at the same time he missed talking to her. Erik remembers how he used to talk and goof off with Yara from her doorway when they were younger. Micheal is very long-winded and sitting on the couch will eventually lead to Erik falling asleep. Erik leans forward on his elbow to peek down the hall where Yara’s bedroom is located. The hall was brightly lit from the light and he couldn’t tell which room was hers exactly. All the damn doors looked the same.

“Fuck it,” Erik places his phone on the coffee table, rising from the couch and making his way down the hall. Hands in his pockets, Erik approaches the first door. He knocks, no sound, twisting the knob and opening the door. It was Mikes room. Erik closes the door, walking further down the hall and approaching a door to his right. The light was on, he could tell from the glow beneath the door. Erik knocks, no sound. He grabs the brass knob, twisting it, then opening. Standing there, Erik’s chest rose and fell with rapid breaths. His mouth hung open and his eyes went round as if they were about to fall out of their sockets. He gawked at the sight of Yara before him. A sight he never imagined in a million years he would see up until now.

Yara was arched over the bathtub with her ass pointed straight out at Erik. Erik could smell cleaning products; Fabuloso from what it smelled like. The water in the tub was on full blast as Yara cleaned the porcelain. Her body was still wet and she had a T-shirt wrapped around her hair. Yara’s ass jiggled each time she scrubbed the tub out. She wasn’t aware of his presence. Erik was so stunned by her naked body and the fact that he walked in on her that he couldn’t even speak.

Too late.

Yara lifts her body up, turning to place the scrub brush on the floor near the tub, her eyes catching Erik standing within the entrance to the bathroom. Yara felt as if her heart was leaving her body. Shell-shocked almost. Now, her breasts were revealed to him. Large, big brown areolas and nipples soaking wet and dripping, curvy waistline glistening with water down to her waxed mound and thighs. Pretty toes painted white with a tattoo of a rose on her left foot. Yara looked appetizing. Yara bit her lip bashfully, eyes glossy as if she wanted to cry from embarrassment, her hands reaching out to the toilet to grab her folded towel. Yara presses her lips together to try and stop her lower lip from trembling and eyes her looked heavenward.

Yara spoke with a shaky voice, “I-Why didn’t you knock? Erik?”

Erik didn’t respond. His eyes were ablaze staring straight at her face. He felt turned on but at the same time he felt guilty. Luckily, Yara couldn’t see how fat and long his dick had gotten within his jeans. She couldn’t hear him, maybe he should have knocked harder. Yara’s hands were shaking and she couldn’t meet his eyes. She was overly embarrassed and not at all prepared. Yara crosses her thighs, pressing the towel further into her chest.

“...I knocked. I should have knocked again. Shit, Yara, I’m sorry-“

“Just-it’s cool,” Yara sized Erik up before rolling her eyes, “Can’t go back now, yeah?”

“I’m so fucking sorry, Yara,” Erik felt like shit, “I’m so so so sorry, Yara.”

“Erik, stop with the apologizing,” Yara drew in a long breath.

“I’m just gonna go,” Erik turns away, walking out of the bathroom. Yara stayed rooted to the spot, her hand pressing further into her chest to calm her rapid heart beat. As always whenever Yara felt embarrassed, she sighed before laughing quietly to herself. Pinching the bridge of her nose, Yara shook her head at what just happened. She was afraid to even look Erik in his eyes now. He saw her in full on nudity. Not in her panties and bra, not in a swimsuit, not wrapped with a fluffy towel, no, fully naked.

Twirling a strand of hair that fell from under the T-shirt, and chewing on her cuticles, Yara gathered herself before leaving the bathroom. She places the cleaning products back in its designated basket under the sink before grabbing her sponge. Yara walked out of the bathroom, entering the hallway and her eyes disobeying her as she nervously glanced into the living room. There seated on the couch with his eyes focused on her, was Erik. Like a magnet, Yara couldn’t pull her eyes away. It was as if he waited to see her leave.

Yara raised a hand in greeting.

He waved.

Yara hung her head, a small smile on her face.

Erik did the same thing before looking at her again.

“I hope this doesn’t make it weird between me and you,” Yara says.

“Never,” Erik spoke with his deep voice, “it could never be weird with you.”

Yara licks her lips, eyes set with long lashes blinking slowly at Erik.

“What are you thinking?” Erik asks while leaning forward on his elbows.

“I’m...I...just-forget it-“

“Nah, tell me.” Erik pushes his eyes searching.

“Mike will be back soon, I have to get dressed.”

“He ain’t back yet,” Erik tilts his head at her, “Don’t be so shy. It’s me, Erik.”

“But it’s what I’m thinking that I shouldn’t be,” Yara crosses her ankles in front of her while staring at her toes.

“Well, I wanna know.”

Yara fidgeted with her fingers before looking up at Erik through her lashes, “I was thinking that I’m glad you saw me like that. I’ve always wanted you to see me like that. Sorry I stormed away like I did earlier.”

Erik swallows spit, his Adam’s apple bobbing. Erik has to look away himself, scratching his nose. He wasn’t prepared for that response at all. Little Yara always wanted him to see her naked. He knew she had a school girl crush on him. No wonder why she didn’t rush to cover herself even though she still looked embarrassed.

“No worries, ma. Uh,” Erik scratches his dreads, “So...you’ve always wanted me to see you naked?”

Yara toyed with a lock of hair, “Yeah...” she spoke with her voice barely above a whisper.

“You shouldn’t talk like that, little Yara, you’ll get yourself in trouble.”

They way he said that sounded so dangerous like fucking with him was the last thing any women would want to do. But Erik didn’t understand, that was ALL Yara wanted to do. He was back, if she didn’t make a move now he would be gone again.

“It’s been a while since you’ve seen me, Erik, I dabbled in trouble,” Yara spoke with a honeyed tone.

“Maybe you should get in that bedroom before Mike gets here then,” Erik says with a sly smirk.

“Yeah, maybe,” Yara giggles before letting out a sigh,

“Bye, Erik.”

“Bye, Yara.”

She didn’t want to move. She really wanted Erik to get up and follow her into her bedroom.

“What you waiting on?” Erik says inclining his head towards the bedroom, “Get in there, little Yara.”

“Come with me?” Yara says before she could even stop herself.

Erik’s eyes dropped and his lips parted. Eyes fully closed now, he clenched his jaw to try and calm his dick. Too bad it was already growing stiff in his jeans. The way she told him to come with her. Such a tempting little thing. Nothing he expected Yara to ever say to him. She’s right, she definitely is a grown women now. Erik wondered what that body could really do.

“I’m-im Sorry,” Yara’s brows creased, eyes cast down at her hands, “I’m being a little too bold right now.”

Erik looked towards the door, then back at Yara. He took in the sight of her barely able to keep that towel around her body.

“You mean what you said? You’re not playing games?” Erik asks with a serious tone, “Cuz if I get up off this couch and come with you, you’re getting all of me, girl.”

“I know,” Yara bites her bottom lip, “I know what I want.”

The way her lips pouted and her eyes looked up at him all innocent caused Erik to stand up slowly from the couch. Erik drew his lower lip between his teeth hands in his jeans pockets before stepping forward. Yara’s lower lip trembled and her breath came out in short gasps. Standing directly next to her now, towering over her with his large intimidating frame, was Erik looking down at Yara with awe transforming his face. Not wanting to waste anymore time, Yara began to walk forward towards her bedroom. Yara twisted the handle, turning to face Erik before opening the door. Erik followed her into darkness, Yara turning to face him with timid eyes. Erik raised a single brow at her, silently asking her if she was sure about this. Yara swallows spit before nodding her head slowly. Erik licks his lips before closing that door behind him, the light that illuminated the hallway disappearing.

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[pjones20ahsgov-blog]

State and Legislative Action

Assembly member Rebecca Bauer-Kahan

a. “We have a responsibility as elected officials to protect the best interests of our constituents, our environment, and our state as a whole.”

b. I agree with Kahan’s message however I am not informed enough to know whether she has upheld this responsibility.

c. AB 1086 would have authorized the sale of the Alameda-Tesla Expansion Area near Livermore, creating the pathway for ecological preservation.

Senator Steve Glazer

a. Senator Glazer has been a strong voice on the environment, casting important votes on such issues as California’s fight against global warming by setting new targets to reduce emissions. He also has voted for new standards to promote clean energy through renewable energy sources. He authored a tax-relief bill to encourage water conservation, and voted to block the federal government from drilling oil off our pristine coastline.

b. I agree with Glazer’s stance, it appears that he has dedicated more of his platform towards the addressing environment and carbon emissions.

c. SB 767.  Carnegie/Tesla Land Preservation – This bill would allow the Department of Parks and Recreation (Department) to sell the portion of the Carnegie State Vehicular Recreation Area (SVRA) known as the “Alameda-Tesla Expansion” for conservation purposes, if the department determines that disposing of that land is in the public interest.

a. AB-1445 Climate change: emergency declaration and policy.

b. Introduced February 22, 2019

c. It appears no action has been made on this bill since it was introduced

d. I find it concerning that this bill has received no attention and has not passed yet. This is a small step to take in order to tackle the issue of carbon emissions destroying our planet. A yes vote should be a no brainer for every representative who truly cares about their constituents. 

Congressman Desaulnier

a. It appears that Congressman Desaulnier has not taken an official stance on the issue of climate change.

b. Desaulnier has not sponsored any legislation pertaining to climate change

c. The issue I am concerned about is the continued release of greenhouse gasses into our atmosphere slowly killing our planet.  I am concerned about this issue because my future depends on the wellbeing of our planet and I feel this issue should be the top priority for all lawmakers. I am currently a senior at Acalanes High School and I am researching this issue for my senior Government class. Please clarify your stance on this issue.  Thank you so much for your time.

Senator Harris

a. “Over the course of her nearly two terms in office, Kamala won a $25-billion settlement for California homeowners hit by the foreclosure crisis, defended California’s landmark climate change law” is the only mention of climate change i could find on Harris’s website

b. I could not find any legislation related to climate change sponsored by Senator Harris.

Senator Feinstein

a. Senator Feinstein has a proven record of fighting to protect our climate and eliminate harmful greenhouse gases.

Increasing fuel economy

Stopping destructive drilling

Mandatory reporting of greenhouse gas emissions

Promoting the use of electric vehicles

Fighting wildfires from the air

Stopping air pollution

Promoting climate change education

Battery storage

Putting a price on carbon

b. Senator Feinstein is an original cosponsor of the Climate Change Education Act, which would support professional development for teachers; science, technology, health and engineering education; the development of climate literacy curricula; and improve the quality of and access to training and certification for green-collar jobs. The Climate Change Education Act would also establish a climate education program at the National Oceanic and Oceanic and Atmospheric Administration.

I support this piece of legislation, I think that it is important that our nation understands the effects and rapid rate of man made climate change.

a. There are many bills that pertain to the environment and climate change

b. Senate Bill S. Joint Res. 53, Should the EPA’s Clean Energy Rule be Repealed?

c. This bill is an attempt to repeal the Trump administrations climate policy, a policy that is destructive to the future of our planet.

d. The Trump admin’s clean energy rule is a major step back for America’s energy future. It should be repealed to ensure that polluters are regulated and pollution reduction is a priority to ensure community and environmental health. If it’s allowed to stand, the ACE rule will allow increased greenhouse emissions and their attendant ill effects.

e. I would vote yay, out of concern for the future of our planet i believe we need to increase regulation on energy.

f. This bill began in the Senate and was rejected

[berniesrevolution]

JACOBIN MAGAZINE

Jovanka Beckles moved to Richmond, California in 2005. Back then Richmond bordered on a company town — the Chevron oil refinery is the largest employer in the city, and the city council was staffed almost entirely by politicians the company backed financially.

Beckles had no political background, but as a children’s mental-health worker for the county, she’d seen the hardships of working-class people throughout the Bay Area and felt that the wealthy needed to pay their fair share. New to town, Beckles started seeing yard signs for a Richmond ballot measure that levied a tax against Chevron to pay for social programs, public education, and infrastructure. She supported the idea but thought the language on the sign was overly technical. So she called the group responsible and suggested it should read simply: “Measure T: Taxes Chevron, Not You.”

That’s how Beckles fell in with the Richmond Progressive Alliance (RPA), an anti-corporate, pro-worker independent political organization in the city. By winning a supermajority on city council, RPA has broken Chevron’s stranglehold over the city council.

Beckles has been a councilmember for eight years. In that time, Richmond passed the first rent-control measure in California in three decades, raised the minimum wage to $15 well ahead of the curve, and massively reduced crime and gun violence while also subjecting the police department to more community oversight and facilitating reentry for people who have been incarcerated.

Beckles was born in Panama and immigrated to the United States when she was nine. She attended Florida A&M on a basketball scholarship and has lived in the Bay Area for thirty years. Now she has her sights set on the state house: she’s running for State Assembly in California’s AD-15.

Her opponent this time isn’t Chevron. It’s Buffy Wicks, a former Obama aide who was dubbed “Buffy the Bernie Slayer” in the 2016 primary for her efforts to defeat Bernie Sanders as Hillary Clinton’s California campaign director. Wicks has never held office before and moved to the district two years ago. Even without an organic local social base, she’s pulled in nearly $1.5 million, making this race the most expensive in the district’s history.

Much of the money comes from wealthy donors across the country — and a big chunk of it comes from the pro-charter, anti-union Super PAC Govern for California. You can acquaint yourself with Wicks’s donors at the East Bay Democratic Socialists of America-run website buffywicks.money.

Like Alexandria Ocasio-Cortez and Julia Salazar, Beckles is a member of DSA, and her campaign is endorsed by the group locally and nationally. The contest between Beckles and Wicks is yet another round in the ongoing battle between democratic socialists and establishment Democrats who boast hefty donations from the mega-wealthy — and in turn protect the interests of private insurers, real estate developers, and school privatizers.

Jacobin’s Meagan Day spoke to Beckles about squaring off with a multi-billion-dollar corporate giant, the California housing crisis, the necessity of single-payer health care, the problem with charter schools, and the meaning of democratic socialism.

Meagan Day:

What brought you to Richmond, and to Richmond politics?

Jovanka Beckles:

I commuted up here from Alameda for five years, working for the county. My wife and I wanted to buy a home, but at the time it was on top of that crazy housing bubble where people were out-bidding each other. It was ridiculous, like someone saying, “I’ll sell you this loaf of bread for three dollars,” and you saying, “Oh absolutely not, I insist you take ten dollars.” So, we couldn’t afford a home in Alameda. At the time, Richmond had a reputation as a high-crime area. But we liked it — it was diverse, and we could afford it.

When we moved here, we knew we weren’t just moving into a house, we were joining a community. So we decided we wanted to learn about the politics. The mayor then wasn’t doing much besides cutting ribbons, but Gayle McLaughlin of RPA was running for mayor and she sparked our interest. She was basically running against Chevron.

Richmond’s schools were dilapidated and underfunded, as were its community health services, parks and pools, and so on. There were no resources for children, no resources for substance abusers. And yet here we were in a city dominated by a multi-billion-dollar corporation.

We learned that the majority of councilmembers had won their elections with money given by Chevron. No wonder Chevron was riding high, with policies in place that increased their bottom line. Not only were they not paying their fair share in taxes, but there were policies that did nothing to reduce the levels of pollution they were raining down on the city.

Lots of children who came through the clinic where I work have asthma. I started to see the connection, and I knew I had to become politically involved.

Meagan Day:

Did you join RPA immediately?

Jovanka Beckles:

My wife and I really wanted to get involved with black organizations. But then we started seeing how, unfortunately, all the black organizations were in bed with Chevron. The local NAACP got a lot of money from Chevron and didn’t want to challenge them.

There was an organization called Black American Political Action Committee, and it was mostly black men. At first, I was so excited — all of these black men involved in local politics! Turns out they were getting a lot of money from Chevron, so they always endorsed the Chevron candidates.

At the time, RPA was almost all white. It wasn’t as diverse as we had hoped, but it shared our values. There was this majority-white organization fighting for economic, environmental, and social justice, and then there were these black organizations that weren’t doing jack except helping Chevron elect more Chevron candidates. Even Irma Anderson, the black mayor, you followed her money and it all led back to Chevron. It was so disappointing.

So I joined RPA, and at the same time I started my own black progressive organization. The goal was to reach out to black progressives and channel them toward RPA, and when we got it running most of our members were also in RPA. So RPA wasn’t diverse at first, but they were about what we were about. And now RPA is predominately people of color.

I ran for City Council on an RPA slate in 2010 and won. In 2014, Chevron spent $3 million to defeat the RPA slate but they were unsuccessful, which gave us a supermajority. Now Chevron pays higher taxes, we’ve curbed their pollution, and meanwhile our municipal infrastructure has been renovated and crime is down 33 percent.

Not only did we stop one of our two high schools from being closed, but our schools are so much better funded now — they even have health care centers in them. We passed a $15 minimum wage. We declared homelessness a crisis and passed the first rent-control ordinance in California in thirty years.

(Continue Reading)

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Request for Qualifications: The City of San José/ Santa Clara Valley - Capitol Light Rail Extension (USA)

Santa Clara Valley - Capitol Light Rail Extension 200 East Santa Clara Street, 12th Floor San José, CA 95113 APPLY NOW Contact Email: mary.rubin@sanjoseca.gov Call Type: Public Art Eligibility: National State: California Entry Deadline: 7/2/21

REQUIREMENTS: Media Images - Minimum: 8, Maximum: 8 Video - Minimum: 0, Maximum: 1 Total Media - Minimum: 8, Maximum: 9

View Site Details

INVITATION TO SUBMIT QUALIFICATIONS Submission Deadline: Friday, July 2, 2021,10:59 p.m. Pacific Time (11:59 p.m. Mountain Time) Downloadable RFQ and Addendum 1 available for download here: https://www.sanjoseca.gov/your-government/departments/office-of-cultural-affairs/public-art/for-artists

I.  BACKGROUND

Eastridge to BART Regional Connector (EBRC) is the last phase of the larger Capitol Expressway Transit Improvement Project that transforms San Jose’s Capitol Expressway into a multi-modal boulevard offering Bus Rapid Transit (BRT), light rail transit, and safe connections to the regional transit system.

This 2.4-mile extension of VTA’s light rail “Orange Line” will extend from the Alum Rock Station (on Capitol Avenue) to the Eastridge Transit Center (on Capitol Expressway). The extension will be constructed on an elevated track operating in the median of Capitol Expressway and includes two new stations. At Story Road plans include an elevated station that will be accessed by a pedestrian bridge. The Eastridge Transit Center, one of the busiest hubs in VTA’s transit network, will acquire a new ground-level station. Work at this location will also include an expansion of the existing Park-and-Ride. The overall project also includes new traction power substations at Ocala Avenue and Eastridge Transit Center.

When complete, VTA riders will be able to board light rail at the Eastridge Station, and connect directly with BART at Milpitas Station, the northernmost BART station in Santa Clara County.  

II.  PUBLIC ART PROJECT OPPORTUNITIES

Public Art will be an important feature of the EBRC Project distinguishing VTA as a visible and significant part of the city landscape. Public Art will also contribute to the vibrancy of the cityscape, promote neighborhood pride by strengthening the unique character of the individual stations as landmarks, create engaging experiences for pedestrians and transit users, and reinforce intuitive wayfinding.

The primary opportunities for artwork are located at the Story Road and Eastridge Transit Center stations. These sites allow for both discrete sculpture as well as integrated plaza enhancements. While VTA is open to receiving recommendation for other opportunities within the overall budget, and without impact to project schedule, the final site selection shall be at VTA’s sole discretion.

Story Road: Commuters from the surrounding community connecting to downtown San José, or BART at the Milpitas Station will be the predominate users of Story Station. The street level pedestrian area at the Southeast and Southwest drop off zone has been initially (although not exclusively) identified as the primary public art site.

Eastridge Transit Station: Eastridge Transit Station is an end-of-the line station. It is adjacent to the busy Eastridge Mall, in proximity to Lake Cunningham Recreation Area, and will be one of the busiest stations in San José. Here the Park-and-Ride is being reconfigured, offering opportunities to distinguish the adjoining plaza.

Additional context (e.g. site overview of the transit line, renderigs of the stations, existing photos, etc.), for reference are available in the "View Floor/ Site Plan" link provided above, and attached to the downloadable RFQ as Appendix I. We are seeking 2 artists/artist teams (one for each site) with diverse skill in object making, material integration, and community outreach and engagement. A wide range of artistic approaches is acceptable for these opportunities, but ultimately the work must be appropriate for conditions of an exterior installation.  

III. ARTIST ELIGIBILITY

This opportunity is open to individual artists or artist-led teams working and living in the United States. All applicants must be at least 18 years of age and have all necessary documentation and permits to work in the United States at the time of submittal of qualifications. If submitting as a team, a professional artist must be the lead team member.

To be eligible, artists must demonstrate experience developing and implementing projects in public space with a budget of $200,000 or greater. 

Note: one of these commissions will be reserved for Bay Area region artists defined as artists living and working in one of the following counties: Alameda; Contra Costa; Marin; Napa; Santa Clara; Santa Cruz, San Francisco; Sonoma, Solano, and San Mateo.  

IV.  PROJECT BUDGET & SCOPE

There are two discrete opportunities. The total budget of each project shall not exceed $450,000, which includes all expenses related to the research, community outreach, design, fabrication, delivery and installation of artwork as follows:

Artist Fee: $70,000 for completion of the following:

Research and investigation including, but not limited to, review of background documents and data to understand the EBRC design documents, project area, and community.

Community outreach and engagement, including discussion with key stakeholders and public meetings with community members for the purpose of understanding the diverse community, their goals and values. The engagement process is intended to build community awareness, stewardship, and provide input and feedback for creative inspiration. Based on COVID-19, artist will work with VTA and SJPA to co-create a virtual process as appropriate based on health guidelines.

Preparation of concept, schematic, and design development proposals including: dimensioned plans and elevations describing the artwork design, installation plan, colors, materials, fabrication processes, costs, schedule (from fabrication through installation), and maintenance specifications. Artists will also provide renderings, models and other visual material to adequately illustrate how the artwork will appear when installed.

Presenting the design proposal to project stakeholders including, key community stakeholders, the VTA, and San José Public Art Committee for approvals.

Based on the approved Design Development Proposal, preparing construction documents and specifications (CDs”) for the artwork. Artist will be responsible to provide the services of all licensed design professionals, engineers, fabricators, installers, and other consultants, as needed, to ensure artwork’s code compliance, structural integrity, and durability.

Fabrication and Installation: Up to $350,000 for each location may be allocated for fabrication and installation as determined by the approved Design Development Proposal including, but not limited to: off site fabrication; transportation to site, and final installation; developing comprehensive operation and maintenance specifications, required staff training, and preparing final as-built documentation.

Contingency: In addition to the fabrication and installation budget a contingency of $30,000 is set aside to cover unanticipated costs that are the result of critical, unforeseen circumstances, which impact the artist’s ability to deliver the Project within budget. The VTA retains unused contingency funds and must approve of the use of them.  

V. CONTRACT

The Artist will enter into a three-party agreement between VTA and the City of San José. The Exemplar agreement is attached as Appendix II to the downloadable RFQ available online at the City of San Jose Public Art Program website "For Artists":  https://www.sanjoseca.gov/your-government/departments/office-of-cultural-affairs/public-art/for-artists

Artists are asked to review this contract prior to submitting for this project and refer any questions to SJPA staff or to your own legal counsel as necessary. If you cannot access this agreement via the Internet, please request a copy be mailed to you prior to the submittal deadline so you may review it in advance of your application. Final award shall be contingent upon selected artist/team accepting Terms and Conditions of the agreement in conformity to the terms listed in the referenced document. City reserves the right to accept an offer in full, or in part, or to reject all offers. The selected artist must comply with any local business licensing requirements including any local Business Tax requirements and will be required to obtain Automobile Insurance and General Liability Insurance coverage in conformance with requirements as directed in the three-party agreement.  

 VI. PROJECT SCHEDULE AT-A-GLANCE*

RFQ advertised                                                     Monday, April 26, 2021

RFQ Submittal Deadline                                       July 2, 2021

Artist Selection                                                      July 2021

Contracting                                                            August 2021

Research & Concept/Schematic Development     September - November 2021

Concept/Schematic Proposal Review                   December 7, 2021

Design Development                                             December 2021 – January 2022

Design Development Proposal Review                 February 1, 2021

Construction Documentation                                 February – March 2022

Fabrication, Installation, and Completion              TBD - prior to Winter 2025

* This is a typical schedule; dates may be subject to change.  

VII.  SELECTION PROCESS

There will be a two-phase selection process:

Short List: A selection panel will review artist qualifications, statement of interest, and past work examples with the goal of selecting 4 - 6 finalist artists for interviews. Qualifications, work samples and statement of interest must be submitted through CaFÉ™ per instructions below. Artists need only submit once and will be considered for both opportunities. NOTE: Specific proposals are not requested and will not be reviewed at this time.

Finalist Interviews: Interviews will be conducted virtually and will focus on prior experience of the artist/team; artists’ conceptual approach to developing artwork for specific sites; and strategies for creative virtual community engagement.

VIII.  RFQ SCHEDULE

The following is the schedule for the artist selection process:

RFQ advertised                                             Monday, April 26, 2021

Last date to submit questions/objections      Friday, May 7, 2021

RFQ Closing Date                                         Friday, July 2, 2021

Selection Panel / Short listing                       Week of July 12, 2021

Artist Interviews and Selection                      Week of August 1, 2021

Once selected and contracted, a site visit will be scheduled for commissioned artists to begin site investigations. The timing of this activity will be based on COVID-19 status, design development priorities, and other goals as determined collaboratively with artists.  

IX.  QUALIFICATION SUBMITTAL

Qualifications, work samples, and statements of interest shall be submitted through CaFÉ™ in accordance with the instructions below; there are no exceptions.

Staff will preview all submissions for completeness prior to Selection Committee review and may reject incomplete or non-responsive submissions.

While submittal through CaFÉ is free to artists, any other potential costs associated with responding to this request are to be borne by the Artist.  

X.  SELECTION CRITERIA

Aesthetic excellence of past projects; appropriateness of prior concepts as they relate to EBRC project goals and opportunity.

Experience and/or interest in creating public artworks in collaboration with stakeholder group.

Interest in innovating virtual and/or socially distant community engagement strategies.

Experience developing artworks in outdoor environments.

Experience in construction materials and methods appropriate to the scope of the project.

Demonstrated ability to manage projects on time and on budget.

Demonstrated delivery of projects with similar budgets: Artists must demonstrate experience developing and implementing projects in public space with a budget of $200,000 or greater.

Experience working with a government agency.

  XI.  APPLICATION REQUIREMENTS

APPLICATION DEADLINE:

Submissions (described below) must be received as a complete application in CaFÉ™ by no later than 10:59 p.m. (PST) 11:59 p.m. (MST) on Friday, July 2, 2021.

Note: 10:59 p.m. Pacific Time (PT) is the same as 11:59 p.m. Mountain Standard Time (MST), the time zone in which CaFÉ™, the host for online submittal is located; CaFÉ™ will automatically stop accepting submittals.)

Please make sure you have started your application with time to ask questions, particularly if you have not used CaFÉ™ previously. Late and incomplete applications will not be accepted.

APPLICATION PROCESS: All materials will be submitted online, via CaFÉ™ website (www.callforentry.org). There is no application fee to apply or to use the CaFÉ™ online application system. 

To view the application, go to www.callforentry.org, register a username and password, navigate to “Apply to Calls”, and search the list for “Santa Clara Valley – Capitol Light Rail Extension”

Assistance in using the CaFÉ™ system is available during regular business hours via e-mail at cafe@westaf.org.

 XII.  REQUIRED APPLICATION MATERIALS

The application submission must include the information and materials described below all of which are required to constitute a complete application. Please review carefully as incomplete applications will not be eligible for consideration and will not be reviewed.  

Images of Past Work: Submission must include visual representations of past artwork that demonstrate your qualifications for this project. In order to be considered for this project, the applicant must submit a total of 8 digital images that represent no more than 5 previously completed projects. Proposal images from prior projects may be submitted, but should be clearly marked as proposals and cannot be more than 2 of the requested 8 images. All images are to be submitted electronically through the CaFÉ™ system. Instructions on how to format images to CaFÉ™ specifications can be found on the CaFÉ™ website under Image Prep.

Descriptions of Past Work: Submission must include a list of the submitted project images with descriptions that clearly explain both the projects and images. More specifically, each image must include the following: a) artwork title; b) date of completion; c) location; d) dimensions; e) significant materials; f) budget and g) relevant conceptual and/or contextual description. If you were the member of a team or otherwise worked with other artists on a project you are submitting for consideration, please clearly state your actual role in the creation of the work.

Statement of Interest in in this project: What specifically interests you about this project? What interests you in the site or site opportunities? Do you have specific interests as an artist that you feel align well with a project of this nature?

Stakeholder Engagement/Community Outreach: What is your public art experience collaborating with clients and communities? Given issues associated with COVID-19, how might you approach community outreach?

Résumé: Submission shall include a current résumé that outlines your professional accomplishments as an artist (maximum of 5000 characters/equivalent of 2 pages; if a team, then 3000 character maximum for each team member.)

Application for Completeness: Please confirm that your application includes all the required materials listed below:

Images (no more than 8 images representing no more than 5 projects)

Past Work - Image Description Detail

Statement of Interest

Stakeholder Engagement/Community Outreach

Résumé (5000 characters/2 page maximum)

Reviewed the three-party VTA, City of San José, Public Artist agreement as recommended

XIII.  EVALUATING APPLICATIONS

A.  Responsiveness of Applications: An application that is not current, accurate and/or completed in accordance with the requirements of this RFQ will be deemed non-responsive and will be eliminated by the City from further consideration.  Notwithstanding the foregoing, the City reserves the right to waive minor irregularities in an Application.

B.  Supplemental Information: The City reserves the right to require any or all Artists to provide supplemental information clarifying the submitted materials.

C.  Consideration of Information Outside the Application: The City has the right to conduct a further and independent investigation of the information provided in an application.  This includes contacting and speaking with references.  The evaluation panel may use any relevant information gathered by such investigation – and any other information that comes to the attention of the City – to evaluate an Artist.

 XIV.  COMMUNICATIONS REGARDING THIS RFQ FOR SUBMISSIONS

A.  Submitting a Question or Objection: Artists must submit any questions and/or objections to this RFQ to the Contact Person: Mary Rubin, Senior Project Manager: mary.rubin@sanjoseca.gov

B.  Questions and/or objections must be submitted via email. Contacting any City representative(s) other than the Contact Person about this RFQ is prohibited and is grounds for disqualification.

C.  Content of Question or Objection:  Artist submitting an objection must describe the objection as specifically as possible and set forth the rationale for the objection, including the section number and paragraph title at issue. 

C.  Deadline for Submitting a Question and/or Objection: Artists must submit any questions or objections no later than the Deadline for Submitting Questions and/or Objections as noted in the schedule referenced in Section VIII above.

E.  City’s Issuance of Addenda, Notices and Answers to Questions: The City will post all addenda and notices regarding this RFQ. The City may provide a written response to any question(s) and/or objection(s) in the form of a single answer or by issuing an addendum. 

F.  Artists are Responsible for Checking CaFÉ™: The addenda, notices and answers to questions issued by the City become part of this RFQ.  Each Artist is responsible for checking the City of San José Public Art Program website’s “For Artist” for addenda, notices and answers to questions.  In the event an Artist obtains this RFQ through any means other than to CaFÉ™, the City will not be responsible for the completeness, accuracy or timeliness of the final RFQ document. 

G.  Relying on Other Written or Oral Statements Prohibited: Artists can rely only on this RFQ and any subsequent addenda, notices and answers issued by the City. Artists cannot rely on any other written or any oral statements of the City or its officers, Directors, employees or agents regarding the Project or the RFQ.

 XV.  PROTESTS

A. If an interested party wants to dispute the award recommendation, they must submit their protest in writing to the City’s Public Art Director no later than five (5) business days after the Recommendation of Award is approved by the San José Public Art Committee, detailing the grounds, factual basis, and providing all supporting information.  Protests will not be considered for disputes of requirements or specifications, which must be addressed in accordance with the Objections Section above.  Failure to submit a timely written protest to the contact listed below will bar consideration of the protest.

B. Protests must be addressed to the following:

     Office of Cultural Affairs      Attention: Michael Ogilvie      200 E. Santa Clara Street      San José, CA  95113

C.  Grounds for which No Protest is Allowed: There is no right to protest based on the following:

Incomplete (non-responsive) applications;

Late submission of applications; or

A dispute regarding the application requirements and/or specifications that could have been addressed by submitting a question and/or objection in accordance with Section XIV.

D.  Director’s Decision: The Director or an appropriate designee of the Director will issue a written decision on any protest.  The Director, or designee, may base the decision on the written protest alone or may informally gather evidence from the Artist filing the protest or any other person having relevant information.  The Director’s decision is final.

 XVI.  GROUNDS FOR DISQUALIFICATION

A.  All Artists are expected to have read and understand the "Procurement and Contract Process Integrity and Conflict of Interest", Section 7 of the Consolidated Open Government and Ethics Provisions adopted on August 26, 2014.  A complete copy of the Resolution 77135 can be found here. Any Artist who violates the Policy will be subject to disqualification.  Generally, the grounds for disqualification include:

Contact regarding this procurement with any City official or employee or Evaluation team other than the Procurement Contact from the time of issuance of this solicitation until the end of the protest period.

Evidence of collusion, directly or indirectly, among Artists in regard to the amount, terms, or conditions of this proposal.

Influencing any City staff member or evaluation team member throughout the solicitation process, including the development of specifications.

Evidence of submitting incorrect information in the response to a solicitation or misrepresent or fail to disclose material facts during the evaluation process.

B.  In addition to violations of Process Integrity Guidelines, the following conduct may also result in disqualification:

Offering gifts or souvenirs, even of minimal value, to City officers or employees.

Existence of any lawsuit, unresolved contractual claim or dispute between Artist and the City.

Evidence of Artist’s inability to successfully complete the responsibilities and obligations of the proposal.

Artist’s default under any contract, resulting in termination of such contract.

 XVII.  MISCELLANEOUS PROVISIONS

A. City’s Right to Terminate Process: The City reserves the right to terminate this RFQ at any time.

B. Costs of Preparing Submittal:  Artist bears all costs associated with its efforts in responding to this RFQ.

C. Gifts Prohibited: Chapter 12.08 of the San José Municipal Code generally prohibits a City officer or designated employee from accepting any gift(s).  The Artist selected as a result of this RFQ will be required to comply with Chapter 12.08  accessible here.

D. By submitting a response to this RFQ, the Artist represents that:

It is familiar with the requirements of Chapter 12.08, and

It has complied with, and throughout the remainder of this application process will continue to comply with, the requirements of Chapter 12.08.

The Artist’s failure to comply with Chapter 12.08 at any time during this process is a ground for disqualification.

E. Discrimination:  It is the City’s policy that the selected Artist shall not discriminate, in any way, against any person on the basis of race, sex, color, age, religion, sexual orientation, actual or perceived gender identity, disability, ethnicity, or national origin, in connection with or related to the performance of City of San José contracts.

F. Public Nature of Submissions:  All applications and submissions and other correspondence with the City regarding this RFQ become the exclusive property of the City and become public records under the California Public Records Act (California Government Code section 6250 et seq.)  All submissions and other correspondence will be subject to the following requirements:

The City has a substantial interest in not disclosing submissions during the evaluation process. For this reason, the City will not disclose any part of the Application before it issues the Final Notice of selection. After issuance of the Final Notice of selection, all submissions will be subject to public disclosure.

There are a limited number of exceptions to the disclosure requirements under the Public Records Act, such as for trade secret information. The City is not in a position to determine what information in a submission, if any, may be subject to one of these exceptions. Accordingly, if an Artist believes that any specific portion of its submission is exempt from disclosure under the Public Records Act, the Artist must mark the portion of the submission as such and state the specific provision in the Act that provides the exemption and the factual basis for claiming the exemption. For example, if an Artist believes a submission contains trade secret information, the Artist must plainly mark the information as “Trade Secret” and refer to the appropriate section of the Public Records Act, which provides the exemption for such information and the factual basis for claiming the exemption.

If a request is made for information in a submission that an Artist has properly marked as exempt from disclosure under the Public Records Act (e.g. information that the Artist has marked as “Confidential”, “Trade Secret” or “Proprietary”), the City will provide the Artist with reasonable notice of the request and the opportunity to seek protection from disclosure by a court of competent jurisdiction. It will be the Artist’s sole responsibility to seek such protection from a court.

Any submission that contains language attempting to make all or significant portions of the submission exempt from disclosure or that fails to provide the exemption information required above will be considered a public record in its entirety. Therefore, do not mark your entire submission as “confidential,” “trade secret,” or “proprietary.”

G.  Environmentally Preferable Procurement Policy:  The City has adopted an “Environmentally Preferable Procurement” (EPP) policy. The goal is to encourage the procurement of products and services that help to minimize the environmental impact resulting from the use and disposal of these products. These products include, but are not limited to, those that contain recycled content, conserve energy or water, minimize waste or reduce the amount of toxic material used and disposed. Computers and other electronics are a growing focus of environmentally preferable purchasing activities due to their high prominence in the waste stream, their numerous hazardous chemical constituents, and their significant energy use. Moreover, when these products are improperly disposed of they can release hazardous substances that pollute the environment.

In support of this policy, the selected Artist will be required to work with the City to apply this policy where it is feasible to do so. In addition, Artists should address any environmental considerations with their proposal response.

The entire EPP policy may be found in the City’s internet site here.

H. Unfair Competitive Advantage:

The City seeks applications for this RFQ through a competitive, impartial process in which all Artists are treated fairly. An Artist that has an actual or apparent unfair competitive advantage jeopardizes the integrity of the competitive process.

A number of different situations can give rise to an actual or apparent unfair competitive advantage. Most commonly, an actual or apparent unfair competitive advantage arises because the Artist has unequal access to nonpublic information or unique insight into the scope of work. Whether an unfair competitive advantage exists depends on the specific facts of each situation.

The existence of an unfair competitive advantage is a basis for the City to disqualify an Artist’s participation in this RFQ. If the City determines that an Artist is disqualified because of the existence of an unfair competitive advantage, it will provide the Artist with a written statement of the facts leading to its conclusion that an unfair competitive advantage exists. The Artist may protest the determination in accordance with Section XII of this Application. Notwithstanding anything to the contrary in Section XII, the Artist shall submit its written protest no later than 5 business days after the date of the City’s letter of disqualification.

The Artist represents that before submitting a response to the RFQ it investigated and considered the issue of potential unfair competitive advantage, including considering any subconsultants it has worked with. By submitting a response to the RFQ, the Artist further acknowledges that performing the work resulting from this RFQ potentially could be the basis of creating an actual or apparent unfair competitive advantage for any future work. The City strongly advises Artists to consult with their legal counsel regarding these issues.

I. Disqualification of Former Employees

Chapter 12.10 of the City’s Municipal Code generally prohibits a former City officer or “designated employee”, as defined in Chapter 12.10, from providing services to the City connected with his/her former duties or official responsibilities. The Artist selected as a result of this process will be prohibited from either directly or indirectly using any former City officer or designated employee to perform services in violation of Chapter 12.10.

By submitting a response to this RFQ, the Artist represents that:

It is familiar with the requirements of Chapter 12.10, and

Its response to this RFQ does not contemplate the use of any former City officer or designated employee in violation of Chapter 12.10.

 The Artist’s failure to comply with Chapter 12.10 at any time during this application process is a ground for disqualification

All applicants must be at least 18 years of age and have all necessary documentation and permits to work in the United States at the time of submittal of qualifications.

The City of San José reserves the right in its sole discretion to reject any or all applications, proposals, applicants, or projects, and to modify or terminate the application process or the selection process for any reason and without prior notice.

Applicant agrees that any and all materials submitted pursuant to this Application for entry become the property of the City of San José and shall not be returned to Applicant. Notwithstanding the foregoing, Applicant shall retain all copyright in the work, which may be held by Applicant. 

If selected for a public art commission, Applicant will be required to enter into an Special Purchase Demand with the City of San José and will be required to comply with any relevant requirements, including but not limited to permits, licensing and/or insurance coverage requirements (if any).  

Scope of Work and Form of Terms is attached to this PDF version of the RFQ as an Exemplar Agreement.

 FOR QUESTIONS ABOUT THIS RFQ:

Please contact Mary Rubin via email at mary.rubin@sanjoseca.gov if you have questions about the project. No calls please. Any pertinent questions submitted prior to Friday, May 7, 2021, will be addressed by an addendum and posted on City website here: https://www.sanjoseca.gov/your-government/departments/office-of-cultural-affairs/public-art/for-artists

 FOR QUESTIONS ABOUT CaFÉ™:  Please contact CaFÉ™ at cafe@westaf.org.

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