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"content": "\u003cp>On a December afternoon at \u003ca href=\"https://www.freedomcommunityclinic.org/\">Freedom Community Clinic\u003c/a>’s healing center \u003ca href=\"https://www.freedomcommunityclinic.org/fruitvale/east-oakland-community-healing-center\">in Fruitvale\u003c/a>, a small group of women pluck yellow and orange petals from dried marigold flowers. Marigolds often accentuate Día de los Muertos altars to guide visiting ancestors, but today, the workshop attendees are using them to make soap and toner to support winter skin health.\u003c/p>\n\u003cp>“Make sure to think of an intention and put it into your soap,” says the workshop leader, Yolanda Velazquez, in Spanish as she stirs in glycerin.\u003c/p>\n\u003cp>Velazquez is one of the clinic’s promotoras de sanación, health outreach workers 50 years and older who are pillars in the Oakland neighborhood’s Mexican and Central American immigrant communities. The wellness workshops are only one of Freedom Community Clinic’s many services, offered in Fruitvale and at its \u003ca href=\"https://www.freedomcommunityclinic.org/community-pharmacy-apothecary\">herbal apothecary just outside downtown Oakland\u003c/a>.\u003c/p>\n\u003cp>“People can receive integrative medicine consultations, community acupuncture, body work, acupressure or energy healing,” says Dr. Bernadette Lim, who’s known to most visitors simply as Bernie. She founded Freedom Community Clinic in 2019, when she was a 24-year-old student in the joint medical program at UCSF and UC Berkeley.\u003c/p>\n\u003cp>At the two clinics, “you’ll see a youth art gallery. You’ll see danza azteca; you’ll see fire cider medicine-making sessions,” she continues. “So you get to also be included in this community medicine. And that itself is medicinal.”\u003c/p>\n\u003cfigure id=\"attachment_13971052\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971052\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marta Romero, back, and Ana Luna, right, pick out herbs after an herbalism workshop at Freedom Community Clinic in Oakland on Dec. 6, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s all part of Lim’s philosophy that healing isn’t just an individual pursuit. She believes our personal healing is vital to healing our communities. As part of that mission, last fall, Lim and her team opened their \u003ca href=\"https://www.freedomcommunityclinic.org/ancestral-healing-farm\">Ancestral Healing Farm\u003c/a> right off Route 24 in Orinda, where they’ll grow some of the free herbs available at the two apothecaries, and host community events that invite people — especially Black, Indigenous and immigrant folks — to reconnect with the land, and themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lim and her team are skilled at building bridges. They’ve spent years developing a philosophy of whole-person healing that looks beyond treating immediate symptoms, and takes into account the roles of culture, social belonging and social justice in a person’s overall wellness. (To that end, Freedom Community Clinic just announced that in September 2025 it will convene interdisciplinary healers from medical schools, health clinics, Indigenous traditions and other practices with artists, mutual aid organizations and community advocates for a summit called Whole Person Healing to the People.)\u003c/p>\n\u003cp>“What people really need is this reconnection back to their body and reconnection to this misalignment of their body, mind and spirit, and also in turn, connecting the individual with community,” Lim says.\u003c/p>\n\u003cfigure id=\"attachment_13971050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda Velazquez (left) leads an herbalism workshop at Freedom Community Clinic in Oakland on Dec. 6, 2024. The clinic offers free herbal medicines and other healing resources daily. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reaching people who might mistrust the medical system\u003c/h2>\n\u003cp>Freedom Community Clinic started gaining momentum during the racial justice protests of 2020, when Lim and her team would pop up at parks, street corners and freeway underpasses. These days, they do a lot. In addition to their many free services, they teach workshops for high schoolers and medical students alike. They also provide healing services to violence interrupters, or social workers who help people in the aftermath of shootings.\u003c/p>\n\u003cp>Lim wants to reach people who might mistrust the mainstream medical system because of their experiences with racism or cultural incompetency. Her family members encountered that firsthand. Her mother, who’s an immigrant from the Philippines, struggled with reproductive health issues.\u003c/p>\n\u003cp>“She had to undergo procedures of which she didn’t understand the full consequences of them, and couldn’t have children and didn’t have full consent because of that,” Lim says. “And that was very traumatic.”\u003c/p>\n\u003cfigure id=\"attachment_13971054\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-scaled.jpg\" alt=\"A massage therapist works on a client at a gathering at a park. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Freedom Community Clinic often offers bodywork and other services at community events in Oakland. \u003ccite>(Courtesy of Freedom Community Clinic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim was inspired to pursue medicine when she saw her mom reconnect to her body through acupuncture, massage and a form of Filipino energy healing called hilot. Eventually, she made her way to UCSF and UC Berkeley, where she got her medical degree in addition to a masters degree in public health.\u003c/p>\n\u003cp>“I would go to class and then I would actually go to community organizing meetings after,” she says. “So I was mentored by and I met the doctor to the Black Panther Party, Dr. Tolbert Small and a lot of the elders and activists. And they taught me about this history of community organizing in medicine.”\u003c/p>\n\u003cp>She also learned about the Bay Area’s community of folk healers that many of her professors didn’t recognize.\u003c/p>\n\u003cp>“And in fact, Western medicine says that a lot of our ancestral healing modalities are not evidence-based,” she adds. “They’re not scientific, they don’t have any basis and they’re just quote, unquote, woo-woo.”\u003c/p>\n\u003cfigure id=\"attachment_13971057\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971057\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Freedom Community Clinic’s Marakee Tilahum, Dr. Alexis Cooke and Dr. Bernadette Lim at Ancestral Healing Farm in Orinda in October 2024. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim came up with a vision to connect those worlds. It’s not that Freedom Community Clinic \u003cem>rejects\u003c/em> Western medicine. If someone comes in with a health issue that needs a pharmaceutical or surgical intervention, Lim has connections to trustworthy providers. But a lot of the ailments people come in with aren’t that straightforward, and can benefit from other forms of care.\u003c/p>\n\u003cp>“Admittedly Western medicine — its strengths are in physical trauma and infection. Amazing technologies have come through to really help with saving lives in those areas,” Lim says. “However, in a world where a lot of the health conditions are chronic, they’re long-term and they don’t have just the physical symptom root cause, we need other healers.”\u003c/p>\n\u003ch2>Reclaiming one’s roots by connecting with the land\u003c/h2>\n\u003cp>Many of those healers from around the Bay Area gathered in the fall of 2024 at the grand opening harvest festival of Ancestral Healing Farm, just a 10-minute drive from downtown Oakland.\u003c/p>\n\u003cp>At the farm, I meet Dr. Alexis Cooke, the director of operations. She has a PhD in public health and is also a reiki practitioner and an herbalist.\u003c/p>\n\u003cp>“Hi, y’all. Welcome,” she says warmly to a group of young women of color. “We’re about to get started down there.”\u003c/p>\n\u003cp>In a sun hat and rubber boots, she walks me over to the hot house to show me the herbs she and volunteers are growing.\u003c/p>\n\u003cp>“So here is tulsi, it’s also called holy basil,” she says. “It’s used a lot in adaptogenic herbal formulations, so it’s good for stress relief. People use it a lot for nervousness or things like that.”\u003c/p>\n\u003cp>Then she points to a shrub called mugwort. “People use [it] a lot for sleep work,” she continues. “If you have issues with sleep or are doing spiritual work, like connecting with ancestors.”\u003c/p>\n\u003cp>Just beyond the green house, artists and healers set up booths with their offerings. Elizabeth Blancas has a spread of colorful portraits of Indigenous women and queer people surrounded by healing plants.\u003c/p>\n\u003cp>“I have specifically chosen sage, ruta and romero — or rue and rosemary,” she says. “Those are culturally important to me and also actually to a lot of Indigenous people of the North. A lot of their healing properties are really for cleansing.”\u003c/p>\n\u003cfigure id=\"attachment_13971058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Elizabeth Blancas went through Freedom Community Clinic’s apprenticeship program. She often features healing plants as motifs in her work. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blancas designed the farm’s banner, which welcomes visitors with the affirmation “Healing Is Justice.” She got involved after going through a six-month apprenticeship program, where she studied reiki, herbalism, CPR and mental health first aid. For her, the opportunity to connect with ancestral healing practices feels deeply personal. Her family hails from Michoacán, Mexico, home of the Purépecha people.\u003c/p>\n\u003cp>“I’m very grateful that my family migrated here — I’m first-generation — but that has also caused a really huge divide for my connection to the land,” she says, “just due to colonization and assimilation.”\u003c/p>\n\u003cp>Blancas says it’s been powerful to have an intentional space to come together with likeminded people of other cultures and generations. “It’s one thing for me to be making medicine on my own, but it’s another thing to be learning alongside other people and being able to make it collectively,” she says. “Especially with the intention for social justice and liberation.”\u003c/p>\n\u003cfigure id=\"attachment_13971060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteer farm stewards Kimberly Tan, Qiyamah Nasir and Quynh Anh Tran (left to right) at the Ancestral Healing Farm in Orinda in October 2024. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what culture they come from, everyone I meet at Freedom Community Clinic has a similar story — of returning to roots that were once severed by painful histories.\u003c/p>\n\u003cp>“I think seeing other people’s commitment to connecting to their ancestral background has inspired me for sure,” says farm volunteer Qiyamah Nasir. “A lot of cultures keep their cultural practices. But a lot of times with African Americans, it’s like we don’t know where we are from. We know Africa, but Africa is a huge continent. So it has really inspired me to really dig deep.”\u003c/p>\n\u003cp>And that’s part of Dr. Bernie Lim’s mission — to create a space where people of different backgrounds can support each other and learn from each other on their individual healing journeys.\u003c/p>\n\u003cp>“Healing can be a joyful experience,” Lim says. “It can be a community experience for so many people to realize that reconnecting back to oneself doesn’t have to be a lonely endeavor. It can be one that can be done in connection with other people.”\u003c/p>\n\u003cp>And that, Lim says, is medicine.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.freedomcommunityclinic.org/\">Freedom Community Clinic’\u003c/a>s locations in Fruitvale and West Oakland, in addition to its Ancestral Healing Farm in Orinda, will reopen for public programming on Mar. 3, 2025. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In September 2025, they’ll convene interdisciplinary healers from medical schools, health clinics, Indigenous traditions and more with artists, mutual aid organizations and community advocates for a summit called Whole Person Healing to the People.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/freedomcommunityclinic/\">Follow Freedom Community Clinic on Instagram\u003c/a> for event updates. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a December afternoon at \u003ca href=\"https://www.freedomcommunityclinic.org/\">Freedom Community Clinic\u003c/a>’s healing center \u003ca href=\"https://www.freedomcommunityclinic.org/fruitvale/east-oakland-community-healing-center\">in Fruitvale\u003c/a>, a small group of women pluck yellow and orange petals from dried marigold flowers. Marigolds often accentuate Día de los Muertos altars to guide visiting ancestors, but today, the workshop attendees are using them to make soap and toner to support winter skin health.\u003c/p>\n\u003cp>“Make sure to think of an intention and put it into your soap,” says the workshop leader, Yolanda Velazquez, in Spanish as she stirs in glycerin.\u003c/p>\n\u003cp>Velazquez is one of the clinic’s promotoras de sanación, health outreach workers 50 years and older who are pillars in the Oakland neighborhood’s Mexican and Central American immigrant communities. The wellness workshops are only one of Freedom Community Clinic’s many services, offered in Fruitvale and at its \u003ca href=\"https://www.freedomcommunityclinic.org/community-pharmacy-apothecary\">herbal apothecary just outside downtown Oakland\u003c/a>.\u003c/p>\n\u003cp>“People can receive integrative medicine consultations, community acupuncture, body work, acupressure or energy healing,” says Dr. Bernadette Lim, who’s known to most visitors simply as Bernie. She founded Freedom Community Clinic in 2019, when she was a 24-year-old student in the joint medical program at UCSF and UC Berkeley.\u003c/p>\n\u003cp>At the two clinics, “you’ll see a youth art gallery. You’ll see danza azteca; you’ll see fire cider medicine-making sessions,” she continues. “So you get to also be included in this community medicine. And that itself is medicinal.”\u003c/p>\n\u003cfigure id=\"attachment_13971052\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971052\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-032_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Marta Romero, back, and Ana Luna, right, pick out herbs after an herbalism workshop at Freedom Community Clinic in Oakland on Dec. 6, 2024. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s all part of Lim’s philosophy that healing isn’t just an individual pursuit. She believes our personal healing is vital to healing our communities. As part of that mission, last fall, Lim and her team opened their \u003ca href=\"https://www.freedomcommunityclinic.org/ancestral-healing-farm\">Ancestral Healing Farm\u003c/a> right off Route 24 in Orinda, where they’ll grow some of the free herbs available at the two apothecaries, and host community events that invite people — especially Black, Indigenous and immigrant folks — to reconnect with the land, and themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lim and her team are skilled at building bridges. They’ve spent years developing a philosophy of whole-person healing that looks beyond treating immediate symptoms, and takes into account the roles of culture, social belonging and social justice in a person’s overall wellness. (To that end, Freedom Community Clinic just announced that in September 2025 it will convene interdisciplinary healers from medical schools, health clinics, Indigenous traditions and other practices with artists, mutual aid organizations and community advocates for a summit called Whole Person Healing to the People.)\u003c/p>\n\u003cp>“What people really need is this reconnection back to their body and reconnection to this misalignment of their body, mind and spirit, and also in turn, connecting the individual with community,” Lim says.\u003c/p>\n\u003cfigure id=\"attachment_13971050\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971050\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/20241206-HerbalismWorkshop-JY-017_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Yolanda Velazquez (left) leads an herbalism workshop at Freedom Community Clinic in Oakland on Dec. 6, 2024. The clinic offers free herbal medicines and other healing resources daily. \u003ccite>(Juliana Yamada/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Reaching people who might mistrust the medical system\u003c/h2>\n\u003cp>Freedom Community Clinic started gaining momentum during the racial justice protests of 2020, when Lim and her team would pop up at parks, street corners and freeway underpasses. These days, they do a lot. In addition to their many free services, they teach workshops for high schoolers and medical students alike. They also provide healing services to violence interrupters, or social workers who help people in the aftermath of shootings.\u003c/p>\n\u003cp>Lim wants to reach people who might mistrust the mainstream medical system because of their experiences with racism or cultural incompetency. Her family members encountered that firsthand. Her mother, who’s an immigrant from the Philippines, struggled with reproductive health issues.\u003c/p>\n\u003cp>“She had to undergo procedures of which she didn’t understand the full consequences of them, and couldn’t have children and didn’t have full consent because of that,” Lim says. “And that was very traumatic.”\u003c/p>\n\u003cfigure id=\"attachment_13971054\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971054\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-scaled.jpg\" alt=\"A massage therapist works on a client at a gathering at a park. \" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/IMG_4415-1920x1440.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Freedom Community Clinic often offers bodywork and other services at community events in Oakland. \u003ccite>(Courtesy of Freedom Community Clinic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim was inspired to pursue medicine when she saw her mom reconnect to her body through acupuncture, massage and a form of Filipino energy healing called hilot. Eventually, she made her way to UCSF and UC Berkeley, where she got her medical degree in addition to a masters degree in public health.\u003c/p>\n\u003cp>“I would go to class and then I would actually go to community organizing meetings after,” she says. “So I was mentored by and I met the doctor to the Black Panther Party, Dr. Tolbert Small and a lot of the elders and activists. And they taught me about this history of community organizing in medicine.”\u003c/p>\n\u003cp>She also learned about the Bay Area’s community of folk healers that many of her professors didn’t recognize.\u003c/p>\n\u003cp>“And in fact, Western medicine says that a lot of our ancestral healing modalities are not evidence-based,” she adds. “They’re not scientific, they don’t have any basis and they’re just quote, unquote, woo-woo.”\u003c/p>\n\u003cfigure id=\"attachment_13971057\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971057\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Freedom Community Clinic’s Marakee Tilahum, Dr. Alexis Cooke and Dr. Bernadette Lim at Ancestral Healing Farm in Orinda in October 2024. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Lim came up with a vision to connect those worlds. It’s not that Freedom Community Clinic \u003cem>rejects\u003c/em> Western medicine. If someone comes in with a health issue that needs a pharmaceutical or surgical intervention, Lim has connections to trustworthy providers. But a lot of the ailments people come in with aren’t that straightforward, and can benefit from other forms of care.\u003c/p>\n\u003cp>“Admittedly Western medicine — its strengths are in physical trauma and infection. Amazing technologies have come through to really help with saving lives in those areas,” Lim says. “However, in a world where a lot of the health conditions are chronic, they’re long-term and they don’t have just the physical symptom root cause, we need other healers.”\u003c/p>\n\u003ch2>Reclaiming one’s roots by connecting with the land\u003c/h2>\n\u003cp>Many of those healers from around the Bay Area gathered in the fall of 2024 at the grand opening harvest festival of Ancestral Healing Farm, just a 10-minute drive from downtown Oakland.\u003c/p>\n\u003cp>At the farm, I meet Dr. Alexis Cooke, the director of operations. She has a PhD in public health and is also a reiki practitioner and an herbalist.\u003c/p>\n\u003cp>“Hi, y’all. Welcome,” she says warmly to a group of young women of color. “We’re about to get started down there.”\u003c/p>\n\u003cp>In a sun hat and rubber boots, she walks me over to the hot house to show me the herbs she and volunteers are growing.\u003c/p>\n\u003cp>“So here is tulsi, it’s also called holy basil,” she says. “It’s used a lot in adaptogenic herbal formulations, so it’s good for stress relief. People use it a lot for nervousness or things like that.”\u003c/p>\n\u003cp>Then she points to a shrub called mugwort. “People use [it] a lot for sleep work,” she continues. “If you have issues with sleep or are doing spiritual work, like connecting with ancestors.”\u003c/p>\n\u003cp>Just beyond the green house, artists and healers set up booths with their offerings. Elizabeth Blancas has a spread of colorful portraits of Indigenous women and queer people surrounded by healing plants.\u003c/p>\n\u003cp>“I have specifically chosen sage, ruta and romero — or rue and rosemary,” she says. “Those are culturally important to me and also actually to a lot of Indigenous people of the North. A lot of their healing properties are really for cleansing.”\u003c/p>\n\u003cfigure id=\"attachment_13971058\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971058\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-2-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Artist Elizabeth Blancas went through Freedom Community Clinic’s apprenticeship program. She often features healing plants as motifs in her work. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Blancas designed the farm’s banner, which welcomes visitors with the affirmation “Healing Is Justice.” She got involved after going through a six-month apprenticeship program, where she studied reiki, herbalism, CPR and mental health first aid. For her, the opportunity to connect with ancestral healing practices feels deeply personal. Her family hails from Michoacán, Mexico, home of the Purépecha people.\u003c/p>\n\u003cp>“I’m very grateful that my family migrated here — I’m first-generation — but that has also caused a really huge divide for my connection to the land,” she says, “just due to colonization and assimilation.”\u003c/p>\n\u003cp>Blancas says it’s been powerful to have an intentional space to come together with likeminded people of other cultures and generations. “It’s one thing for me to be making medicine on my own, but it’s another thing to be learning alongside other people and being able to make it collectively,” she says. “Especially with the intention for social justice and liberation.”\u003c/p>\n\u003cfigure id=\"attachment_13971060\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971060\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-scaled.jpg\" alt=\"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/01/ancestral-healing-farm-3-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Volunteer farm stewards Kimberly Tan, Qiyamah Nasir and Quynh Anh Tran (left to right) at the Ancestral Healing Farm in Orinda in October 2024. \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>No matter what culture they come from, everyone I meet at Freedom Community Clinic has a similar story — of returning to roots that were once severed by painful histories.\u003c/p>\n\u003cp>“I think seeing other people’s commitment to connecting to their ancestral background has inspired me for sure,” says farm volunteer Qiyamah Nasir. “A lot of cultures keep their cultural practices. But a lot of times with African Americans, it’s like we don’t know where we are from. We know Africa, but Africa is a huge continent. So it has really inspired me to really dig deep.”\u003c/p>\n\u003cp>And that’s part of Dr. Bernie Lim’s mission — to create a space where people of different backgrounds can support each other and learn from each other on their individual healing journeys.\u003c/p>\n\u003cp>“Healing can be a joyful experience,” Lim says. “It can be a community experience for so many people to realize that reconnecting back to oneself doesn’t have to be a lonely endeavor. It can be one that can be done in connection with other people.”\u003c/p>\n\u003cp>And that, Lim says, is medicine.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>\u003ca href=\"https://www.freedomcommunityclinic.org/\">Freedom Community Clinic’\u003c/a>s locations in Fruitvale and West Oakland, in addition to its Ancestral Healing Farm in Orinda, will reopen for public programming on Mar. 3, 2025. \u003c/em>\u003c/p>\n\u003cp>\u003cem>In September 2025, they’ll convene interdisciplinary healers from medical schools, health clinics, Indigenous traditions and more with artists, mutual aid organizations and community advocates for a summit called Whole Person Healing to the People.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.instagram.com/freedomcommunityclinic/\">Follow Freedom Community Clinic on Instagram\u003c/a> for event updates. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Kev Choice Made Room for Hip-Hop in Classical Music",
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"content": "\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\u003c/p>\n\u003cp>https://youtu.be/RMQbdElhnEo?si=itDr1mRXyofFuwJE\u003c/p>\n\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” [ad fullwidth]\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OPjcgZPGAq8\u003c/p>\n\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aJoftyUh8a0\u003c/p>\n\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tiv9_GovdHY\u003c/p>\n\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\u003c/p>\n\u003cp>https://youtu.be/52eYIEiDLXw?si=eK08m1l0u9QtBx4Z\u003c/p>\n\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This story is part of The California Report Magazine’s series about \u003ca href=\"https://www.kqed.org/news/tag/california-composers\">California composers\u003c/a>. Listen to this and more in-depth storytelling by \u003ca href=\"http://itunes.apple.com/us/podcast/the-california-report-magazine/id1314750545?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">subscribing\u003c/a> to The California Report Magazine podcast.\u003c/i>\u003c/p>\n\u003cp>It’s a Wednesday morning in \u003ca href=\"https://www.instagram.com/kevchoice/?hl=en\">Kev Choice\u003c/a>’s studio, tucked away in the back of an industrial warehouse in East Oakland. The small, dark-purple room looks something like a wizard’s lair out of a fantasy novel, with tall, epic columns and dark curtains.\u003c/p>\n\u003cp>The Kev Choice Ensemble is rehearsing for a conference that’s bringing 2,000 activists, artists and academics from across the nation to Oakland to discuss topics like the Indigenous Land Back movement and Palestinian liberation. Choice sits at his keyboard, rapping about the painful legacy of slavery before affirming the power of everyday people to make change. As his jazz band grooves, they alchemize devastation into hope.\u003c/p>\n\u003cp>“What I try to bring is the purpose, the intention, of the message, and uplift the issues while giving people encouragement,” he says. “[I try] to create an environment where we can just have fun and be free and enjoy together for a moment in time, before we get back to the work.”\u003c/p>\n\u003cp>Choice speaks with the ease of someone who knows who he is and owns it, but it took him decades to move comfortably between his roots in hip-hop culture, his love of jazz and his classical training. Classical music used to turn its nose up at hip-hop. But in recent years orchestras have begun looking to collaborate with rappers to appeal to younger, more diverse audiences — basically, to stay relevant in the 21st century.\u003c/p>\n\u003cp>Now, the world is finally catching up to the forward-thinking vision Kev Choice has had for decades.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RMQbdElhnEo'\n title='//www.youtube.com/embed/RMQbdElhnEo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Navigating separate musical worlds\u003c/h2>\n\u003cp>For Choice, breaking boundaries wasn’t easy — and not just musical boundaries, but those of race, class and culture. Growing up in Oakland in the ’80s and ’90s, he began writing rhymes and studying piano seriously in middle school. Even back then, he knew he’d have to compartmentalize his two worlds.\u003c/p>\n\u003cp>“I couldn’t talk to any of my teachers about hip-hop or making beats. They had no connection to that,” he says. “And then my hip-hop friends would kind of tease me about playing the piano.”\u003c/p>\n\u003cfigure id=\"attachment_13967710\" class=\"wp-caption aligncenter\" style=\"max-width: 960px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967710\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg\" alt=\"\" width=\"960\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/60325271_10155974893232027_2182473221847121920_n-768x432.jpg 768w\" sizes=\"auto, (max-width: 960px) 100vw, 960px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice at his graduation from Xavier University in 1998. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Choice was undeterred: He excelled in high school orchestra and big band, and continued to rap and make beats after school. After nailing an audition at Xavier University, an HBCU in New Orleans, he got a full scholarship on the spot to study piano performance in the birthplace of jazz. Afterwards, he took off to Southern Illinois University for his master’s degree.\u003c/p>\n\u003cp>Choice excelled in classical piano, but he couldn’t see himself going the traditional orchestral route.\u003c/p>\n\u003cp>“Number one, because of the lack of diversity in that world,” he says. “It just seemed like it was such a narrow opportunity for a young African American pianist who wasn’t a prodigy at age four.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>An international tour with Michael Franti\u003c/h2>\n\u003cp>After grad school, Choice decided it was time to return to his roots. In 2000, he moved back to Oakland with the ambition of becoming a rap star. It was a fertile time for Bay Area hip-hop. Artists like E-40 and Too Short had already reached major-label success in years prior. Alternative hip-hop artists like \u003ca href=\"https://www.kqed.org/arts/13927692/del-funky-homosapien-no-need-for-alarm-30-years-anniversary\">Deltron 3030\u003c/a> were also making waves.\u003c/p>\n\u003cfigure id=\"attachment_13967711\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967711\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg\" alt=\"A photocopied flyer reads: "88 Keys to the Mind, Body and Soul. A classical graduate piano recital presented by Kevin Choice. Most sought after pianist for campus occasions. Live you've never seen him before!!!!!!!!!!!! All the way live!!!!!!!!!!!! A must see for music lovers!!!!!!!!! This brotha is real!!!!!!!!"\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/IMG_4260-scaled-e1730831891144-1536x2048.jpg 1536w\" sizes=\"auto, (max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">The flyer for Kev Choice’s graduation recital at Southern Illinois University. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While working on his own music, Choice would also regularly pop up behind the keys at jam sessions, open mics or really anywhere there was a piano. Calls for auditions started coming, and he got hired to join Michael Franti and Spearhead on an international tour.\u003c/p>\n\u003cp>Franti had come out of the Bay Area’s underground hip-hop scene, and he attracted a global fan base with his fusion of hip-hop, reggae and funk. The opportunity expanded Choice’s world.\u003c/p>\n\u003cp>“Being a kid from Oakland and, you know, to be walking down the street in Switzerland or France or Belgium,” he reflects, “it blew my mind on what the world looked like and the connection of people to music as well. Like, how strong that was.”\u003c/p>\n\u003cp>The tour pushed Choice to grow his skillset — he had to trade his sheet music and piano for playing by ear on an electric keyboard. He had his own ambitions as a solo artist. But word got out after the Spearhead tour, and he became an in-demand sideman. In the years that followed, he went on the road with alternative and conscious hip-hop artists like Zion I and Lyrics Born.\u003c/p>\n\u003ch2>Around the world with Lauryn Hill\u003c/h2>\n\u003cp>In 2006, Choice got the opportunity of a lifetime: performing with Lauryn Hill. He even worked with her on a demo for a track that became “\u003ca href=\"https://youtu.be/kUvtyBW0Q_A?si=d3791VyTs2p4UAWJ\">Lose Myself\u003c/a>.” (It was featured on the soundtrack of \u003cem>Surf’s Up\u003c/em>, a 2007 animated film about surfing penguins.)\u003c/p>\n\u003cfigure id=\"attachment_13967716\" class=\"wp-caption aligncenter\" style=\"max-width: 768px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967716\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg\" alt=\"\" width=\"768\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-and-lauryn-hill-160x200.jpg 160w\" sizes=\"auto, (max-width: 768px) 100vw, 768px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice and Lauryn Hill on tour in 2006. \u003ccite>(Courtesy of Kev Choice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Choice says their collaboration came together in a complete whirlwind. One day he got a call to meet Hill at an Emeryville studio. She was one of his idols, so of course, he said yes. It turned out to be an audition.\u003c/p>\n\u003cp>As she started playing her guitar, he began playing along on his keyboard.\u003c/p>\n\u003cp>“I think the other guys were, like, just confused,” he says, laughing. “They were like, what the hell is going on?”\u003c/p>\n\u003cp>Afterwards, Choice got another call: Could he put a band together for her? He scrambled, calling everyone he knew. Before long he was the musical director of an all-Bay Area band that accompanied Hill to shows in Hawaii, Japan and Brazil.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OPjcgZPGAq8'\n title='//www.youtube.com/embed/OPjcgZPGAq8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On tour, Choice was inspired by the way Hill carried herself, how she charted her own path and defied expectations.\u003c/p>\n\u003cp>“It gave me the courage that I could achieve anything in this industry,” he says.\u003c/p>\n\u003ch2>Giving it his all as a solo artist\u003c/h2>\n\u003cp>Choice came back to Oakland fired up. He was ready to dedicate himself to his own music, wholeheartedly. It paid off in 2014 when he came out with an album that made waves: \u003ca href=\"https://kevchoice.bandcamp.com/album/oakland-riviera\">\u003cem>Oakland Riviera\u003c/em>\u003c/a>. With lyrics addressing racial injustice, healing and Oakland pride, the project’s elaborate, propulsive instrumentation has a funky, jazzy Afrofuturist vibe.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aJoftyUh8a0'\n title='//www.youtube.com/embed/aJoftyUh8a0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At this point, Choice had cemented his reputation in hip-hop and jazz. And after \u003cem>Oakland Riviera\u003c/em>, he got the chance to show the world what he could do with his classical training. The opportunity arrived thanks to \u003ca href=\"https://www.kqed.org/arts/13901635/michael-morgan-visionary-oakland-symphony-conductor-dies-at-age-63\">Michael Morgan\u003c/a>, the late music director of the Oakland Symphony, who passed away in 2021.\u003c/p>\n\u003cp>Morgan was one of the nation’s few Black leaders of a major orchestra — and Choice had looked up to him since high school. When they met at a Recording Academy mixer, it turned out the maestro was already familiar with the younger man’s work. He invited Choice to compose his first piece for a full orchestra: 2018’s \u003cem>Soul Restoration Suite\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Tiv9_GovdHY'\n title='//www.youtube.com/embed/Tiv9_GovdHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The five-movement piece took that blend of hip-hop, classical and jazz that Choice had been trying to pull off for decades, and brought it to the next level. Choice conceptualized it as a love letter to Oakland through all of its struggles and triumphs. The first movement tells the story of the Spanish conquest of the area’s Ohlone inhabitants, and Choice’s words flow over lush orchestration.\u003c/p>\n\u003cp>Before this, Choice had composed for quartets and smaller ensembles, but he had never written for a full orchestra before. In Morgan, he found an open-minded mentor who took hip-hop seriously as an art form and appreciated Choice’s personal voice.\u003c/p>\n\u003cp>“I feel like he just kept encouraging me to take what I do as a band director, as a musician, as a hip-hop artist, and use the orchestra to enhance it,” he says. “And keep my original style. Like, don’t try to write like Beethoven. Don’t try to do Stravinsky, do your original music. But using the orchestra as another palette or as more colors to enhance.”\u003c/p>\n\u003cfigure id=\"attachment_13964203\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13964203\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/09/240912-KEVCHOICE-08-BL-KQED-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Kev Choice plays the piano at his studio in Oakland on Sept. 12, 2024. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Morgan had charted a path for Choice and so many others. He used his position and influence to create more space for Black musicians to be themselves in a largely white and notoriously elitist industry.\u003c/p>\n\u003cp>Today, Choice sits on the Oakland Symphony’s board, and he’s made it his mission to create opportunities for the next generation. In fact, if you drive past the intersection of 51st Street and Shattuck Avenue in North Oakland, you’ll see Choice and Michael Morgan in a mural together, looking hopefully out at a starry sky.\u003c/p>\n\u003cp>Like his mentor, who championed public music education, Choice spent nearly eight years teaching at Oakland School for the Arts. Today, he continues to serve the community in the music education program Elevate Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13967779\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967779\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg\" alt=\"\" width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/kev-choice-mural-1920x1080.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Oakland mural by Hungry Ghost Studio features Michael Morgan (center left) and Kev Choice (center right). \u003ccite>(Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A singular vision emerges\u003c/h2>\n\u003cp>Back at Choice’s rehearsal space, I chat with saxophonist \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a>.\u003c/p>\n\u003cp>“Kev is definitely the reason I’m a musician today,” he says.\u003c/p>\n\u003cp>Brame is one of Choice’s former students. At only 17 years old, he’s already headlined two sold-out shows at the jazz club Yoshi’s. He says it’s Choice’s versatility that inspires him.\u003c/p>\n\u003cp>“It shows how important that skillset is to know all genres of music and not be like, I don’t play classical or I don’t play rock music,” Brame adds. “He knows all of it. So yeah definitely, that’s one of my inspirations.”\u003c/p>\n\u003cp>These days, Choice might be busy with community work, but he hasn’t lost sight of his own music. His 2024 EP, \u003ca href=\"https://open.spotify.com/album/2WoxdPZgSbsJ6lVlgCGBJe\">\u003cem>All My Love\u003c/em>\u003c/a>, is the clearest distillation yet of his personal voice and vision.\u003c/p>\n\u003cp>It’s a vulnerable project that takes stock of how he’s shown up in relationships over the years. It examines his personal growth and maturation as a man.\u003c/p>\n\u003cp>The project culminates in the bittersweet song “Congratulations.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/52eYIEiDLXw'\n title='//www.youtube.com/embed/52eYIEiDLXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Choice raps over moving piano arrangements, accompanied by a string quartet, harp and upright bass. In the lyrics, he speaks to an ex who is now getting married.\u003c/p>\n\u003cp>He’s happy for her and a little regretful, looking back at what went wrong and what could have been.\u003c/p>\n\u003cp>At his piano, Choice breaks down how his arrangements underscore the emotion of the track.\u003c/p>\n\u003cp>“Whenever I play ninth chords or minor chords, sometimes it can be dark. Some people say it may be very sad,” he says. “But I almost feel like it’s more sentimental. I’m thinking about what I was going through. And that chord really offers a lot of space to me for reflection.”\u003c/p>\n\u003cp>As I listen to him play, it’s hard not to feel an appreciation for the complicated beauty of the life lessons all of us go through.\u003c/p>\n\u003cp>Choice says \u003cem>All My Love\u003c/em> is just a teaser for a full-length project that’ll come out later this year. He also recently accepted a position as a tenure-track music professor at San Francisco State University. Over two decades into his career as a musician, educator and community advocate, Choice is finally getting the recognition he deserves.\u003c/p>\n\u003cp>“I feel like as a hip hop artist, I’m always trying to grow, try to get more expressive, try to stay relevant,” Choice affirms. “I don’t want my sound to ever get stale or not continue to evolve.”\u003c/p>\n\u003cp>That growth mindset has been a theme in Choice’s career since the very beginning, and it’s propelled so much more than his personal evolution. The hundreds of students he’s taught, and the countless audience members who’ve seen him live, have left with a little piece of his vision: to look beyond arbitrary boundaries, to come together and to better ourselves and our communities through art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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