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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Welcome back, Annie.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a tale as old as time. Boy meets girl. Girl has 13 babies. Boy gets attacked. Girl starts flirting with boy’s attacker while boy recuperates in hospital. Entire city of Berkeley waits to see if they’ll get back together.\u003c/p>\n\u003cp>[aside postID='arts_13901725,arts_13888053,arts_13897293']This is the sordid tale that’s been unfolding in the East Bay for the past three months. Only in this case, the star-crossed lovers aren’t human idiots—they’re peregrine falcons.\u003c/p>\n\u003cp>The hussy at the center of the love triangle is Annie, who first paired off with boy falcon Grinnell in late 2016. Since, the couple have been doing the most—nesting on UC Berkeley’s \u003ca href=\"https://visit.berkeley.edu/the-campanile/\" target=\"_blank\" rel=\"noopener noreferrer\">Campanile\u003c/a>, mating like bunnies, and providing hours of entertainment for local birdwatchers.\u003c/p>\n\u003cp>Young love, however, is terribly fickle. In October, poor Grinnell was attacked by a rowdy pair of hooligan falcons who left him with injuries to his chin, beak and left wing. He was found afterward languishing on a trash can (\u003cem>the humiliation!\u003c/em>) at the \u003ca href=\"https://www.berkeleytennisclub.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Tennis Club\u003c/a>, and whisked away to Walnut Creek’s \u003ca href=\"https://lindsaywildlife.org/hospital-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Lindsay Wildlife Rehabilitation Hospital\u003c/a> to recuperate.\u003c/p>\n\u003cp>During his three-week absence, Annie and one of Grinnell’s avian attackers started brazenly flirting in front of God and everyone, all over town. They even spent Thanksgiving together! (What must the children think?) This despite the fact that the Lothario in question is a “floater”—ornithologist parlance for homewrecking, non-breeding falcons who are just in it to win a nest. (Get it together, Annie!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/josephe_anne/status/1464080764992200709\u003c/p>\n\u003cp>Shortly after Thanksgiving, ornithologist \u003ca href=\"https://www.berkeleyside.org/2021/11/30/campanile-soap-opera-annie-grinnell-rival-falcon\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Peterson told \u003cem>Berkeleyside\u003c/em>\u003c/a> that “[Annie] is definitely interested in the new male, if he’s the one that ends up taking over the territory. Eventually, Grinnell and the new male will probably have a fight of some kind that will determine who the male at the Campanile will be.”\u003c/p>\n\u003cp>Since his release from the hospital on Nov. 17, Grinnell has been seen hanging out at the Campanile every day, in the spot where he and Annie have nested for the last five years. Despite making himself so embarrassingly available, Grinnell is apparently back in Annie’s good books. On New Year’s Day, Annie came to her damn senses and got back together with him. (New year, new leaf, girl!)\u003c/p>\n\u003cp>Early in the morning of Jan. 1, the two were caught canoodling on the Campanile balcony, performing head-bowing displays and hanging out like nothing ever happened. \u003ca href=\"https://twitter.com/CalFalconCam\" target=\"_blank\" rel=\"noopener noreferrer\">Cal Falcon Cam\u003c/a>‘s video of the heartwarming reunion has since been viewed over 19,000 times.\u003c/p>\n\u003cp>https://twitter.com/primerealmids91/status/1477324387179245573\u003c/p>\n\u003cp>The day after this little ritual, Annie was seen prepping her nest by lying on her belly and kicking gravel around. (Whatever floats your boat, birds.) If she and Grinnell do decide to mate for a sixth time, it will likely be in February.\u003c/p>\n\u003cp>If Grinnell’s got any sense, he’ll start prepping their Valentine’s Day plans now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Don’t miss \u003ca href=\"https://www.kqed.org/science/1969983/raising-peregrine-falcon-chicks-is-a-real-cliff-hanger/\" target=\"_blank\" rel=\"noopener noreferrer\">an article and video\u003c/a> on Annie and Grinnell from KQED’s own \u003ca href=\"https://www.kqed.org/science/1969983/raising-peregrine-falcon-chicks-is-a-real-cliff-hanger/\" target=\"_blank\" rel=\"noopener noreferrer\">Deep Look\u003c/a>:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RTNZmnD27is\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the sordid tale that’s been unfolding in the East Bay for the past three months. Only in this case, the star-crossed lovers aren’t human idiots—they’re peregrine falcons.\u003c/p>\n\u003cp>The hussy at the center of the love triangle is Annie, who first paired off with boy falcon Grinnell in late 2016. Since, the couple have been doing the most—nesting on UC Berkeley’s \u003ca href=\"https://visit.berkeley.edu/the-campanile/\" target=\"_blank\" rel=\"noopener noreferrer\">Campanile\u003c/a>, mating like bunnies, and providing hours of entertainment for local birdwatchers.\u003c/p>\n\u003cp>Young love, however, is terribly fickle. In October, poor Grinnell was attacked by a rowdy pair of hooligan falcons who left him with injuries to his chin, beak and left wing. He was found afterward languishing on a trash can (\u003cem>the humiliation!\u003c/em>) at the \u003ca href=\"https://www.berkeleytennisclub.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley Tennis Club\u003c/a>, and whisked away to Walnut Creek’s \u003ca href=\"https://lindsaywildlife.org/hospital-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Lindsay Wildlife Rehabilitation Hospital\u003c/a> to recuperate.\u003c/p>\n\u003cp>During his three-week absence, Annie and one of Grinnell’s avian attackers started brazenly flirting in front of God and everyone, all over town. They even spent Thanksgiving together! (What must the children think?) This despite the fact that the Lothario in question is a “floater”—ornithologist parlance for homewrecking, non-breeding falcons who are just in it to win a nest. (Get it together, Annie!)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Shortly after Thanksgiving, ornithologist \u003ca href=\"https://www.berkeleyside.org/2021/11/30/campanile-soap-opera-annie-grinnell-rival-falcon\" target=\"_blank\" rel=\"noopener noreferrer\">Sean Peterson told \u003cem>Berkeleyside\u003c/em>\u003c/a> that “[Annie] is definitely interested in the new male, if he’s the one that ends up taking over the territory. Eventually, Grinnell and the new male will probably have a fight of some kind that will determine who the male at the Campanile will be.”\u003c/p>\n\u003cp>Since his release from the hospital on Nov. 17, Grinnell has been seen hanging out at the Campanile every day, in the spot where he and Annie have nested for the last five years. Despite making himself so embarrassingly available, Grinnell is apparently back in Annie’s good books. On New Year’s Day, Annie came to her damn senses and got back together with him. (New year, new leaf, girl!)\u003c/p>\n\u003cp>Early in the morning of Jan. 1, the two were caught canoodling on the Campanile balcony, performing head-bowing displays and hanging out like nothing ever happened. \u003ca href=\"https://twitter.com/CalFalconCam\" target=\"_blank\" rel=\"noopener noreferrer\">Cal Falcon Cam\u003c/a>‘s video of the heartwarming reunion has since been viewed over 19,000 times.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The day after this little ritual, Annie was seen prepping her nest by lying on her belly and kicking gravel around. (Whatever floats your boat, birds.) If she and Grinnell do decide to mate for a sixth time, it will likely be in February.\u003c/p>\n\u003cp>If Grinnell’s got any sense, he’ll start prepping their Valentine’s Day plans now.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Don’t miss \u003ca href=\"https://www.kqed.org/science/1969983/raising-peregrine-falcon-chicks-is-a-real-cliff-hanger/\" target=\"_blank\" rel=\"noopener noreferrer\">an article and video\u003c/a> on Annie and Grinnell from KQED’s own \u003ca href=\"https://www.kqed.org/science/1969983/raising-peregrine-falcon-chicks-is-a-real-cliff-hanger/\" target=\"_blank\" rel=\"noopener noreferrer\">Deep Look\u003c/a>:\u003c/em>\u003c/p>\n\u003cp>\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/RTNZmnD27is'\n title='//www.youtube.com/embed/RTNZmnD27is'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "After Touring With Beyoncé, Divinity Roxx Brings Positive Vibes to Children's Music",
"headTitle": "After Touring With Beyoncé, Divinity Roxx Brings Positive Vibes to Children’s Music | KQED",
"content": "\u003cp>Divinity Roxx, best known for playing bass in Beyoncé’s all female band, is making her mark on the family music scene. From start to finish, her new album, \u003ca href=\"https://diviroxxkids.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ready, Set, Go\u003c/em>\u003c/a>\u003cem>,\u003c/em> is about positivity in mind and body.\u003c/p>\n\u003cp>Divinity says that as she was writing the album, she thought “about the kid inside of me,” as well as her nieces and nephews.\u003c/p>\n\u003cp>“A lot of times they’re listening to adult music, and these concepts are too mature for them, and I don’t like to hear them singing some of these lyrics,” she says. She set out to write “a jam that’s appropriate for a five-year-old, that makes them feel good about being alive, and makes them think about life in a different way.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=k9ynCrayH5w\" target=\"_blank\" rel=\"noopener noreferrer\">title track\u003c/a> of \u003cem>Ready, Set, Go\u003c/em> is the ultimate morning jam, with its aerobic tempo and rhymes like “Put that pep in your step, put that pride in your stride.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k9ynCrayH5w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weekday mornings were upbeat at the Atlanta home of little Debbie Walker, the future Divinity Roxx. Her mom was president of the local PTA. “She would give us a sermon every morning about how it was time to get up and why we were going to school,” Divinity recalls. “And you got to make opportunities for yourself and…go out there and be something in the world and you got to be prepared.” Channeling her mom’s energy, Divinity says, “The lyrics are just about being prepared for your day, because preparation is the key to success.”\u003c/p>\n\u003cp>[aside postid='arts_13899078']Divinity Roxx was \u003cem>plenty\u003c/em> prepared when she auditioned for Beyoncé, but getting to that point in her career wasn’t always easy. She’s been playing music since she was a little girl, and spent a lot of time with her uncle who played bass and saxophone. Divinity’s first instrument was clarinet.\u003c/p>\n\u003cp>But when she was in middle school, her mother started doing drugs. “She wore herself out. I had this really rare blood disorder as a kid, so she had to take me to the doctor every single week,” Divinity recalls. “And then as soon as I got better, my sister had arthritis in her knees, so then \u003cem>she\u003c/em> started going to the doctor every week. I think my mom just checked out at a certain point.\u003c/p>\n\u003cp>“Addiction is real,” she adds, “and it tears people apart.”\u003c/p>\n\u003cp>Divinity says her mom has been in recovery for 30 years now.\u003c/p>\n\u003cp>Years later, she used a voice-mail recording from her mom in the song “\u003ca href=\"https://divinityroxx.bandcamp.com/track/miracle\" target=\"_blank\" rel=\"noopener noreferrer\">Miracle\u003c/a>,” on her solo album \u003cem>ImPossible\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=btjh_g6MKWw\u003c/p>\n\u003cp>\u003cstrong>‘You walk like a bass player. You talk like a bass player.’\u003c/strong>\u003c/p>\n\u003cp>Divinity went to the University of California at Berkeley to study journalism, but says she ended up mostly hanging out with musicians. She recalls that when she told a bassist friend she was ready to pick up an instrument again, he told her, “You’re a bass player. You walk like a bass player. You talk like a bass player.”\u003c/p>\n\u003cp>[aside postid='arts_13891275']She’s pretty sure now that her “vibe” was responsible: “Bass players are more laid back. They’re cool being in the cut.” (No offense to guitarists, she’s quick to add.)\u003c/p>\n\u003cp>Divinity practiced and played at clubs whenever she could. She learned that her idol, bassist \u003ca href=\"https://www.wgbh.org/news/arts/2021/10/28/first-electric-bass-soloist-to-be-featured-at-boston-symphony-orchestra-this-weekend\" target=\"_blank\" rel=\"noopener noreferrer\">Victor Wooten\u003c/a>, was hosting a bass camp in Tennessee. “He has this philosophy about how music and nature are really connected and interrelated so he was teaching life and survival skills as well as bass,” she says. “And when I heard that he was having the camp, I said, ‘I have to go.'”\u003c/p>\n\u003cp>“Divinity came across as the complete package—more than myself,” Wooten says. He remembers that when she first played for him and the other counselors, “it blew us all away.” When camp was over, Wooten asked Divinity to tour with him and his band. “She was a hit every night,” he says. “She was just riveting and powerful, and just electric on stage.”\u003c/p>\n\u003cfigure id=\"attachment_13905907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Divinity Roxx (R) on stage with guitarist Bibi McGill (C) and Beyoncé (L), performing “Irreplaceable” at the 2006 American Music Awards. \u003ccite>(Ethan Miller/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Divinity never heard Beyoncé say “I’m tired”\u003c/strong>\u003c/p>\n\u003cp>Divinity was over the moon. She says her “dream” was to have a career like Wooten, a Grammy-winning artist who makes a living writing, recording and performing. “He had his own tour bus!” she remembers thinking.\u003c/p>\n\u003cp>But in 2006, people kept telling her that Beyoncé was forming an all-female band, and that she should audition for it. “I didn’t think anything about it because I was like: Beyoncé is \u003cem>Beyoncé. \u003c/em>She can call anybody. I don’t even understand why she’s having auditions; I can think of five bass players she should hire right now, and none of them equal me, right?”\u003c/p>\n\u003cp>Wrong, it turned out. Having watched the pool of applicants get smaller and smaller after auditions in Atlanta and New York, Divinity and the other musicians still standing learned from Beyoncé’s father, Matthew Knowles, that they were hired.\u003c/p>\n\u003cp>[aside postid='arts_13901650']“He says, ‘OK, so Beyoncé wants all of you to be a part of her all-female band, and get ready, because in two weeks you’re going to play the BET awards,'” Divinity remembers. “We were just there dumbfounded—like, what just happened?!”\u003c/p>\n\u003cp>Touring the world with Beyoncé was a huge learning experience. During an exhausting period of traveling, performing and rehearsing, Divinity happened to get on the elevator with the superstar and her mom, Miss Tina.\u003c/p>\n\u003cp>Beyoncé, Divinity recalls, leaned up against the wall and sighed. “Miss Tina looks at her and says, ‘Are you tired?’ And she stands up and looks at her and says ‘I could run a mile.’ I just laughed and I said: ‘Yeah, that’s the attitude.’ I’ve never heard her say, ‘I’m tired\u003cem>.’\u003c/em> I try to take that out of my vocabulary. Because she’s going to do what she has to do to reach her goal.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=te1crvr4wP0\u003c/p>\n\u003cp>\u003cstrong>Love wins every time\u003c/strong>\u003c/p>\n\u003cp>With her new children’s project, Divinity Roxx has now reached one of her goals. Good thing, says rapper \u003ca href=\"https://www.fyutch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FYÜTCH\u003c/a>, who’s active in the children’s music scene. He’s one of the guest artists on Divinity’s new album.\u003c/p>\n\u003cp>“The fact that Divinity Roxx is dedicating her mission, her time, her music, her resources, her experience as a world traveled musician to kids’ music and family music and books,” he says, “it’s showing how diverse this industry really is, and much potential there is.”\u003c/p>\n\u003cp>[aside postid='arts_13900514']While unabashed positivity runs throughout \u003cem>Ready, Set, Go\u003c/em>, Divinity also includes a song called “Love, Love, Love\u003cem>“\u003c/em> that recognizes sometimes families argue. “Whenever humans come together, there’s always some kind of conflict you’re going to face,” she says. “But if you can rest on the fact that you love each other and respect each other when you are expressing your differences, that love is what’s going to keep you bonded.” Wise words for grown-ups too.\u003c/p>\n\u003cp>Scholastic is publishing the lyrics of two of the songs from Divinity’s new album: \u003ca href=\"https://www.amazon.com/Happy-Healthy-Divinity-Roxx/dp/1338782630/ref=sr_1_1?dchild=1&keywords=divinity+roxx&qid=1631629374&rnid=2941120011&s=books&sr=1-1&utm_campaign=Happy+%2B+Healthy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Happy and Healthy\u003c/em>\u003c/a> and the forthcoming \u003ca href=\"https://urldefense.com/v3/__https:/shop.scholastic.com/teachers-ecommerce/teacher/books/rhythm-rhymes-me-you-9781338782646.html__;!!Iwwt!EOZD1QOwyqNZiqov4bSKjq0ITa3kcASu1ScGONn3WCeQ5Qv7eE2F9_mMpLLP9w%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Me + You\u003c/em>\u003c/a>, both with illustrations by NaShanta Fletcher.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Now Divinity is working on a one-woman show which she describes as “the origin story of a superhero named Divinity Roxx.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+touring+with+Beyonc%C3%A9%2C+Divinity+Roxx+brings+positive+vibes+to+children%27s+music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Divinity Roxx, best known for playing bass in Beyoncé’s all female band, is making her mark on the family music scene. From start to finish, her new album, \u003ca href=\"https://diviroxxkids.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Ready, Set, Go\u003c/em>\u003c/a>\u003cem>,\u003c/em> is about positivity in mind and body.\u003c/p>\n\u003cp>Divinity says that as she was writing the album, she thought “about the kid inside of me,” as well as her nieces and nephews.\u003c/p>\n\u003cp>“A lot of times they’re listening to adult music, and these concepts are too mature for them, and I don’t like to hear them singing some of these lyrics,” she says. She set out to write “a jam that’s appropriate for a five-year-old, that makes them feel good about being alive, and makes them think about life in a different way.”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=k9ynCrayH5w\" target=\"_blank\" rel=\"noopener noreferrer\">title track\u003c/a> of \u003cem>Ready, Set, Go\u003c/em> is the ultimate morning jam, with its aerobic tempo and rhymes like “Put that pep in your step, put that pride in your stride.”\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/k9ynCrayH5w'\n title='//www.youtube.com/embed/k9ynCrayH5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weekday mornings were upbeat at the Atlanta home of little Debbie Walker, the future Divinity Roxx. Her mom was president of the local PTA. “She would give us a sermon every morning about how it was time to get up and why we were going to school,” Divinity recalls. “And you got to make opportunities for yourself and…go out there and be something in the world and you got to be prepared.” Channeling her mom’s energy, Divinity says, “The lyrics are just about being prepared for your day, because preparation is the key to success.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Divinity Roxx was \u003cem>plenty\u003c/em> prepared when she auditioned for Beyoncé, but getting to that point in her career wasn’t always easy. She’s been playing music since she was a little girl, and spent a lot of time with her uncle who played bass and saxophone. Divinity’s first instrument was clarinet.\u003c/p>\n\u003cp>But when she was in middle school, her mother started doing drugs. “She wore herself out. I had this really rare blood disorder as a kid, so she had to take me to the doctor every single week,” Divinity recalls. “And then as soon as I got better, my sister had arthritis in her knees, so then \u003cem>she\u003c/em> started going to the doctor every week. I think my mom just checked out at a certain point.\u003c/p>\n\u003cp>“Addiction is real,” she adds, “and it tears people apart.”\u003c/p>\n\u003cp>Divinity says her mom has been in recovery for 30 years now.\u003c/p>\n\u003cp>Years later, she used a voice-mail recording from her mom in the song “\u003ca href=\"https://divinityroxx.bandcamp.com/track/miracle\" target=\"_blank\" rel=\"noopener noreferrer\">Miracle\u003c/a>,” on her solo album \u003cem>ImPossible\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/btjh_g6MKWw'\n title='//www.youtube.com/embed/btjh_g6MKWw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>‘You walk like a bass player. You talk like a bass player.’\u003c/strong>\u003c/p>\n\u003cp>Divinity went to the University of California at Berkeley to study journalism, but says she ended up mostly hanging out with musicians. She recalls that when she told a bassist friend she was ready to pick up an instrument again, he told her, “You’re a bass player. You walk like a bass player. You talk like a bass player.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She’s pretty sure now that her “vibe” was responsible: “Bass players are more laid back. They’re cool being in the cut.” (No offense to guitarists, she’s quick to add.)\u003c/p>\n\u003cp>Divinity practiced and played at clubs whenever she could. She learned that her idol, bassist \u003ca href=\"https://www.wgbh.org/news/arts/2021/10/28/first-electric-bass-soloist-to-be-featured-at-boston-symphony-orchestra-this-weekend\" target=\"_blank\" rel=\"noopener noreferrer\">Victor Wooten\u003c/a>, was hosting a bass camp in Tennessee. “He has this philosophy about how music and nature are really connected and interrelated so he was teaching life and survival skills as well as bass,” she says. “And when I heard that he was having the camp, I said, ‘I have to go.'”\u003c/p>\n\u003cp>“Divinity came across as the complete package—more than myself,” Wooten says. He remembers that when she first played for him and the other counselors, “it blew us all away.” When camp was over, Wooten asked Divinity to tour with him and his band. “She was a hit every night,” he says. “She was just riveting and powerful, and just electric on stage.”\u003c/p>\n\u003cfigure id=\"attachment_13905907\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13905907\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/gettyimages-72620874_wide-9d502dc0850906fc0e56fee7cf51f9fe1c99108b-1920x1080.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Divinity Roxx (R) on stage with guitarist Bibi McGill (C) and Beyoncé (L), performing “Irreplaceable” at the 2006 American Music Awards. \u003ccite>(Ethan Miller/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Divinity never heard Beyoncé say “I’m tired”\u003c/strong>\u003c/p>\n\u003cp>Divinity was over the moon. She says her “dream” was to have a career like Wooten, a Grammy-winning artist who makes a living writing, recording and performing. “He had his own tour bus!” she remembers thinking.\u003c/p>\n\u003cp>But in 2006, people kept telling her that Beyoncé was forming an all-female band, and that she should audition for it. “I didn’t think anything about it because I was like: Beyoncé is \u003cem>Beyoncé. \u003c/em>She can call anybody. I don’t even understand why she’s having auditions; I can think of five bass players she should hire right now, and none of them equal me, right?”\u003c/p>\n\u003cp>Wrong, it turned out. Having watched the pool of applicants get smaller and smaller after auditions in Atlanta and New York, Divinity and the other musicians still standing learned from Beyoncé’s father, Matthew Knowles, that they were hired.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He says, ‘OK, so Beyoncé wants all of you to be a part of her all-female band, and get ready, because in two weeks you’re going to play the BET awards,'” Divinity remembers. “We were just there dumbfounded—like, what just happened?!”\u003c/p>\n\u003cp>Touring the world with Beyoncé was a huge learning experience. During an exhausting period of traveling, performing and rehearsing, Divinity happened to get on the elevator with the superstar and her mom, Miss Tina.\u003c/p>\n\u003cp>Beyoncé, Divinity recalls, leaned up against the wall and sighed. “Miss Tina looks at her and says, ‘Are you tired?’ And she stands up and looks at her and says ‘I could run a mile.’ I just laughed and I said: ‘Yeah, that’s the attitude.’ I’ve never heard her say, ‘I’m tired\u003cem>.’\u003c/em> I try to take that out of my vocabulary. Because she’s going to do what she has to do to reach her goal.”\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/te1crvr4wP0'\n title='//www.youtube.com/embed/te1crvr4wP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Love wins every time\u003c/strong>\u003c/p>\n\u003cp>With her new children’s project, Divinity Roxx has now reached one of her goals. Good thing, says rapper \u003ca href=\"https://www.fyutch.com/\" target=\"_blank\" rel=\"noopener noreferrer\">FYÜTCH\u003c/a>, who’s active in the children’s music scene. He’s one of the guest artists on Divinity’s new album.\u003c/p>\n\u003cp>“The fact that Divinity Roxx is dedicating her mission, her time, her music, her resources, her experience as a world traveled musician to kids’ music and family music and books,” he says, “it’s showing how diverse this industry really is, and much potential there is.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While unabashed positivity runs throughout \u003cem>Ready, Set, Go\u003c/em>, Divinity also includes a song called “Love, Love, Love\u003cem>“\u003c/em> that recognizes sometimes families argue. “Whenever humans come together, there’s always some kind of conflict you’re going to face,” she says. “But if you can rest on the fact that you love each other and respect each other when you are expressing your differences, that love is what’s going to keep you bonded.” Wise words for grown-ups too.\u003c/p>\n\u003cp>Scholastic is publishing the lyrics of two of the songs from Divinity’s new album: \u003ca href=\"https://www.amazon.com/Happy-Healthy-Divinity-Roxx/dp/1338782630/ref=sr_1_1?dchild=1&keywords=divinity+roxx&qid=1631629374&rnid=2941120011&s=books&sr=1-1&utm_campaign=Happy+%2B+Healthy\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Happy and Healthy\u003c/em>\u003c/a> and the forthcoming \u003ca href=\"https://urldefense.com/v3/__https:/shop.scholastic.com/teachers-ecommerce/teacher/books/rhythm-rhymes-me-you-9781338782646.html__;!!Iwwt!EOZD1QOwyqNZiqov4bSKjq0ITa3kcASu1ScGONn3WCeQ5Qv7eE2F9_mMpLLP9w%24\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Me + You\u003c/em>\u003c/a>, both with illustrations by NaShanta Fletcher.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>This episode of \u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a>\u003c/em> is presented in several accessible versions. Each is the same work, hosted on Youtube, and provides a different encounter:\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/r0ty_1A5WfE\" target=\"_blank\" rel=\"noopener noreferrer\">Video with American Sign Language, Open Captions, Audio Description, and Closed Captions.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/t5eaaI54zz8\" target=\"_blank\" rel=\"noopener noreferrer\">Video with Open Captions, Audio Description, and Closed Captions.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/Pltu4IbNvxA\" target=\"_blank\" rel=\"noopener noreferrer\">Video with Closed Captions only.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kinetic-Light-Audio.mp3\">Audio only.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407-Kinetic-Light-Captions-w-Timestamps.pdf\">Enhanced Transcript with Timecodes.\u003c/a> (PDF)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/KineticLightTranscriptNoTimecodes.pdf\">Enhanced Transcript without Timecodes.\u003c/a> (PDF)\u003c/p>\n\u003cp>\u003cem>The episode features American Sign Language by interpreter Angela Vilavong, who collaborated with interpreter Pilar Marsh. The voice-over appears in the integrated open captions (OC,) which are visible at the bottom of the screen. Audio Description (AD) includes a verbal description of the episode, with narration by Rebecca Singh. The Audio Description can optionally be downloaded as a separate audio file, and a transcript of the Audio Description and voice-over are also available for download to experience alongside the episode.\u003c/em>\u003c/p>\n\u003cp>For the disability arts ensemble Kinetic Light, whose members are spread across the country, working on their forthcoming piece \u003cem>Wired\u003c/em> in the San Francisco Bay Area has been a kind of coming home. Not only because dancer Jerron Herman grew up in Alameda, or because artistic director Alice Sheppard performed with AXIS Dance Company, but because of the region’s role in the history of the disability rights movement, which started in Berkeley in the 1960s.\u003c/p>\n\u003cp>Today, Berkeley’s Ed Roberts Campus stands as a physical reminder of those demonstrations, struggles and achievements — and a testament to the ways access can create welcoming, equitable and just spaces. “\u003cspan style=\"font-weight: 400\">We’re at home physically in a way we are in so few other places,” Kinetic Light artist and engineer Laurel Lawson says of the campus, which has what she describes as one of the “great ramps of the world.” \u003c/span>\u003c/p>\n\u003cp>“Places where I can say somebody thought about me when they were designing this — that sparks joy,” Lawson says. “That sparks a desire to explore and to find out what the designer might have had in mind. It’s like an artistic collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13905736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905736 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing-800x450.jpg\" alt=\"Disabled dancers Alice Sheppard and Laurel Lawson dance, holding hands as they face each other in their chairs. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of Kinetic Light took time off from their technical residency for “Wired,” to visit the universally accessible Ed Roberts Campus in Berkeley. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://kineticlight.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kinetic Light\u003c/a>, founded in 2016, seeks out a similar quality of engagement with audiences when creating their own productions. Lighting and projection designer Michael Maag describes the group as much more than a dance company. The ensemble is led by disabled artists, collaborates regularly with disabled artists across disciplines, and includes a uniquely talented and experienced group of professionals who work together on production, technical, artistic, and administrative aspects of the company.\u003c/p>\n\u003cp>Each decision Maag makes with regards to lighting is rooted in the company’s ongoing conversations about an artistic and aesthetic disability lens, about wheelchairs as extensions of a dancer’s embodiment. “I want to create lighting for the people that experience the world the way that I do,” Maag explains.\u003c/p>\n\u003cp>“Once you commit to imagining a disabled audience as primary and not as incidental,” Sheppard says. “It changes the understanding of the work.”\u003c/p>\n\u003cp>Perhaps most importantly, to Kinetic Light, access is not a static checklist, but a promise and continual learning process. The company engages with the disability community constantly, conducting extensive audience research in the making of their work. As Maag says, “It’s a two-way conversation when we present our work and audience members experience it.”\u003c/p>\n\u003cfigure id=\"attachment_13905737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905737 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-800x450.jpg\" alt=\"Alice, Michael, and Laurel sit in their chairs, while Jerron stands leaning against the back of Laurel’s chair, in front of the ramp to the brick warehouse performance space.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace.jpg 1819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right, Laurel, Jerron, Alice and Michael, in front of Z Space in San Francisco, CA. \u003ccite>(Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many performing arts companies increasingly integrate audio description to provide non-visual audience members with verbal descriptions of the on-stage action, and caption their videos or include an ASL interpreter in documentation, Kinetic Light is interested in offering audiences choice as they experience a performance. In conjunction with their 2018 production \u003cem>DESCENT\u003c/em>, Lawson developed the app \u003ca href=\"https://kineticlight.org/audimance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Audimance\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Users can select and shift from a variety of different styles of description (screenplay, sounds of the dancers’ bodies, a poetic rendition), choosing a focus that works for them.\u003c/span>\u003c/p>\n\u003cp>Sheppard references an idea from \u003ca href=\"https://vcresearch.berkeley.edu/faculty/georgina-kleege\" target=\"_blank\" rel=\"noopener noreferrer\">Georgina Kleege\u003c/a>, noted UC Berkeley professor who writes about access, disability and the arts (and advised on the creation of Audimance). “If someone in the audience gasps,” Sheppard explains, “the thing that produced that gasp should be available to everyone. Otherwise, why are you here?”\u003c/p>\n\u003cp>The company’s artists describe this approach as aesthetic equity.\u003c/p>\n\u003cfigure id=\"attachment_13905739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/jerronwrappedinwire2-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905739 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/jerronwrappedinwire2-2-800x450.jpg\" alt=\"Kinetic Light dancer Jerron Herman dances wrapped in barb wire for technical rehearsals of “Wired.”\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jerron Herman, in rehearsals at Z Space, says he felt a strong sense of independence growing up in the Bay Area, home of the disability rights movement. \u003ccite>(Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wired\u003c/em>, Kinetic Light’s first aerial production, will premiere in 2022 after pandemic-related delays and shifts in production. The show uses sound, light and movement to reflect on the stories and history of barbed wire, and how it has been used to separate people, groups, and movements on the basis of gender, race, sexuality and disability. As with previous work, the form and presentation of \u003cem>Wired\u003c/em> are both deeply rooted in access. Considering the ways people will encounter the work is inextricable from the process of fine-tuning the technical aspects of complex aerial choreography.\u003c/p>\n\u003cp>Thirty years after the passing of the American with Disabilities Act, the conversation around access has renewed energy, due in large part to the effects of COVID-19 on remote work, learning and entertainment. But access is too often approached as an accommodation or service, says Sheppard, which treats disabled people as different and lesser. Kinetic Light models a different relationship for those seeking to push the conversation about disability ever further.\u003c/p>\n\u003cp>“For us, access is a creative force,” Sheppard says, “It is a culture … how we want to be together and how we want our audiences to be with us.” — \u003ci>Article written by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>Image Descriptions (in order of article):\u003c/p>\n\u003cp>A wide shot of three dancers on a dimly lit stage; the floor is awash in patterned green and blue light. Two dancers in wheelchairs hover above the ground, each with one arm extended up, holding on to a thick cable; Alice Sheppard is a multiracial Black woman with coffee-colored skin and short curly hair, and Laurel Lawson is a white woman with very short cropped hair. They each gaze at and tilt down toward Jerron Herman, a dark-skinned Black man with blonde hair who is crouched between them, wrapped in barbed wire. All dancers are wearing shimmery green and gold costumes. White Text: “BAY AREA: Disability Arts / IF CITIES COULD DANCE”\u003c/p>\n\u003cp>Kinetic Light dancers Laurel Lawson, a white woman with very short cropped brown hair\u003cb>,\u003c/b>\u003cspan style=\"font-weight: 400\"> and Alice Sheppard, a multiracial Black woman with coffee-colored skin and short curly brown hair, are holding both hands as they face each other in their chairs. Laurel is wearing a gray tank top and black leggings; Alice is wearing a pink and purple long-sleeved top with black leggings. They’re dancing in the lobby of the Ed Roberts Campus, with a historical black-and-white photo mural in the background, polished floors and curved red ramp behind them.\u003c/span>\u003c/p>\n\u003cp>A wide shot of the four members of the Kinetic Light disability arts ensemble pose in front of the Z Space building in San Francisco, CA. Alice is a multiracial Black woman with coffee-colored skin and short curly hair. She wears a pink hoodie, tan puffy vest, shimmery leggings and sheepskin boots; she leans back in her chair, balancing. Michael Maag, a white man with long white hair and beard, is wearing a black, short-sleeved cotton shirt, jeans and black sneakers; he poses in his chair, hand on his lap. Laurel is a white woman with very short cropped hair wearing a white, long-sleeved top, shimmery blue leggings and tan leather boots; she sits in her chair and holds her hands together. Jerron Herman, a dark-skinned Black man with blonde hair wears a black long-sleeved top with a yellow tank over it with black jeans and sneakers as he stands behind Laurel and rests his arm on her chair.\u003c/p>\n\u003cp>Kinetic Light dancer Jerron Herman, a dark-skinned Black man with blonde hair and dark moustache, \u003cspan style=\"font-weight: 400\">is kneeling on his left leg on a stage illuminated by a white spotlight and smoke. He wears a loose black tunic-like hooded top with shimmery leggings and is barefoot; barbed wire is coiled around his upper torso. His right arm is stretched over his head in a curved arc, while his left arm is tucked close to his chest. He looks upward with his mouth slightly open in an expression of deep concentration.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This episode of \u003cem>\u003ca href=\"https://youtube.com/playlist?list=PLeGdTT0--8KhbKEVbBBpeaZd9fAznBzz9\" target=\"_blank\" rel=\"noopener noreferrer\">If Cities Could Dance\u003c/a>\u003c/em> is presented in several accessible versions. Each is the same work, hosted on Youtube, and provides a different encounter:\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/r0ty_1A5WfE\" target=\"_blank\" rel=\"noopener noreferrer\">Video with American Sign Language, Open Captions, Audio Description, and Closed Captions.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/t5eaaI54zz8\" target=\"_blank\" rel=\"noopener noreferrer\">Video with Open Captions, Audio Description, and Closed Captions.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/Pltu4IbNvxA\" target=\"_blank\" rel=\"noopener noreferrer\">Video with Closed Captions only.\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/Kinetic-Light-Audio.mp3\">Audio only.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407-Kinetic-Light-Captions-w-Timestamps.pdf\">Enhanced Transcript with Timecodes.\u003c/a> (PDF)\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/KineticLightTranscriptNoTimecodes.pdf\">Enhanced Transcript without Timecodes.\u003c/a> (PDF)\u003c/p>\n\u003cp>\u003cem>The episode features American Sign Language by interpreter Angela Vilavong, who collaborated with interpreter Pilar Marsh. The voice-over appears in the integrated open captions (OC,) which are visible at the bottom of the screen. Audio Description (AD) includes a verbal description of the episode, with narration by Rebecca Singh. The Audio Description can optionally be downloaded as a separate audio file, and a transcript of the Audio Description and voice-over are also available for download to experience alongside the episode.\u003c/em>\u003c/p>\n\u003cp>For the disability arts ensemble Kinetic Light, whose members are spread across the country, working on their forthcoming piece \u003cem>Wired\u003c/em> in the San Francisco Bay Area has been a kind of coming home. Not only because dancer Jerron Herman grew up in Alameda, or because artistic director Alice Sheppard performed with AXIS Dance Company, but because of the region’s role in the history of the disability rights movement, which started in Berkeley in the 1960s.\u003c/p>\n\u003cp>Today, Berkeley’s Ed Roberts Campus stands as a physical reminder of those demonstrations, struggles and achievements — and a testament to the ways access can create welcoming, equitable and just spaces. “\u003cspan style=\"font-weight: 400\">We’re at home physically in a way we are in so few other places,” Kinetic Light artist and engineer Laurel Lawson says of the campus, which has what she describes as one of the “great ramps of the world.” \u003c/span>\u003c/p>\n\u003cp>“Places where I can say somebody thought about me when they were designing this — that sparks joy,” Lawson says. “That sparks a desire to explore and to find out what the designer might have had in mind. It’s like an artistic collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13905736\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905736 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing-800x450.jpg\" alt=\"Disabled dancers Alice Sheppard and Laurel Lawson dance, holding hands as they face each other in their chairs. \" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/aliceLaureldancing.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Members of Kinetic Light took time off from their technical residency for “Wired,” to visit the universally accessible Ed Roberts Campus in Berkeley. \u003ccite>(Kelly Whalen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://kineticlight.org\" target=\"_blank\" rel=\"noopener noreferrer\">Kinetic Light\u003c/a>, founded in 2016, seeks out a similar quality of engagement with audiences when creating their own productions. Lighting and projection designer Michael Maag describes the group as much more than a dance company. The ensemble is led by disabled artists, collaborates regularly with disabled artists across disciplines, and includes a uniquely talented and experienced group of professionals who work together on production, technical, artistic, and administrative aspects of the company.\u003c/p>\n\u003cp>Each decision Maag makes with regards to lighting is rooted in the company’s ongoing conversations about an artistic and aesthetic disability lens, about wheelchairs as extensions of a dancer’s embodiment. “I want to create lighting for the people that experience the world the way that I do,” Maag explains.\u003c/p>\n\u003cp>“Once you commit to imagining a disabled audience as primary and not as incidental,” Sheppard says. “It changes the understanding of the work.”\u003c/p>\n\u003cp>Perhaps most importantly, to Kinetic Light, access is not a static checklist, but a promise and continual learning process. The company engages with the disability community constantly, conducting extensive audience research in the making of their work. As Maag says, “It’s a two-way conversation when we present our work and audience members experience it.”\u003c/p>\n\u003cfigure id=\"attachment_13905737\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905737 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-800x450.jpg\" alt=\"Alice, Michael, and Laurel sit in their chairs, while Jerron stands leaning against the back of Laurel’s chair, in front of the ramp to the brick warehouse performance space.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/ICCD407_groupshotoutsideZSpace.jpg 1819w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">From left to right, Laurel, Jerron, Alice and Michael, in front of Z Space in San Francisco, CA. \u003ccite>(Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While many performing arts companies increasingly integrate audio description to provide non-visual audience members with verbal descriptions of the on-stage action, and caption their videos or include an ASL interpreter in documentation, Kinetic Light is interested in offering audiences choice as they experience a performance. In conjunction with their 2018 production \u003cem>DESCENT\u003c/em>, Lawson developed the app \u003ca href=\"https://kineticlight.org/audimance\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Audimance\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Users can select and shift from a variety of different styles of description (screenplay, sounds of the dancers’ bodies, a poetic rendition), choosing a focus that works for them.\u003c/span>\u003c/p>\n\u003cp>Sheppard references an idea from \u003ca href=\"https://vcresearch.berkeley.edu/faculty/georgina-kleege\" target=\"_blank\" rel=\"noopener noreferrer\">Georgina Kleege\u003c/a>, noted UC Berkeley professor who writes about access, disability and the arts (and advised on the creation of Audimance). “If someone in the audience gasps,” Sheppard explains, “the thing that produced that gasp should be available to everyone. Otherwise, why are you here?”\u003c/p>\n\u003cp>The company’s artists describe this approach as aesthetic equity.\u003c/p>\n\u003cfigure id=\"attachment_13905739\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/jerronwrappedinwire2-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13905739 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/jerronwrappedinwire2-2-800x450.jpg\" alt=\"Kinetic Light dancer Jerron Herman dances wrapped in barb wire for technical rehearsals of “Wired.”\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/jerronwrappedinwire2-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jerron Herman, in rehearsals at Z Space, says he felt a strong sense of independence growing up in the Bay Area, home of the disability rights movement. \u003ccite>(Peter Ruocco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Wired\u003c/em>, Kinetic Light’s first aerial production, will premiere in 2022 after pandemic-related delays and shifts in production. The show uses sound, light and movement to reflect on the stories and history of barbed wire, and how it has been used to separate people, groups, and movements on the basis of gender, race, sexuality and disability. As with previous work, the form and presentation of \u003cem>Wired\u003c/em> are both deeply rooted in access. Considering the ways people will encounter the work is inextricable from the process of fine-tuning the technical aspects of complex aerial choreography.\u003c/p>\n\u003cp>Thirty years after the passing of the American with Disabilities Act, the conversation around access has renewed energy, due in large part to the effects of COVID-19 on remote work, learning and entertainment. But access is too often approached as an accommodation or service, says Sheppard, which treats disabled people as different and lesser. Kinetic Light models a different relationship for those seeking to push the conversation about disability ever further.\u003c/p>\n\u003cp>“For us, access is a creative force,” Sheppard says, “It is a culture … how we want to be together and how we want our audiences to be with us.” — \u003ci>Article written by Sarah Hotchkiss\u003c/i>\u003c/p>\n\u003cp>Image Descriptions (in order of article):\u003c/p>\n\u003cp>A wide shot of three dancers on a dimly lit stage; the floor is awash in patterned green and blue light. Two dancers in wheelchairs hover above the ground, each with one arm extended up, holding on to a thick cable; Alice Sheppard is a multiracial Black woman with coffee-colored skin and short curly hair, and Laurel Lawson is a white woman with very short cropped hair. They each gaze at and tilt down toward Jerron Herman, a dark-skinned Black man with blonde hair who is crouched between them, wrapped in barbed wire. All dancers are wearing shimmery green and gold costumes. White Text: “BAY AREA: Disability Arts / IF CITIES COULD DANCE”\u003c/p>\n\u003cp>Kinetic Light dancers Laurel Lawson, a white woman with very short cropped brown hair\u003cb>,\u003c/b>\u003cspan style=\"font-weight: 400\"> and Alice Sheppard, a multiracial Black woman with coffee-colored skin and short curly brown hair, are holding both hands as they face each other in their chairs. Laurel is wearing a gray tank top and black leggings; Alice is wearing a pink and purple long-sleeved top with black leggings. They’re dancing in the lobby of the Ed Roberts Campus, with a historical black-and-white photo mural in the background, polished floors and curved red ramp behind them.\u003c/span>\u003c/p>\n\u003cp>A wide shot of the four members of the Kinetic Light disability arts ensemble pose in front of the Z Space building in San Francisco, CA. Alice is a multiracial Black woman with coffee-colored skin and short curly hair. She wears a pink hoodie, tan puffy vest, shimmery leggings and sheepskin boots; she leans back in her chair, balancing. Michael Maag, a white man with long white hair and beard, is wearing a black, short-sleeved cotton shirt, jeans and black sneakers; he poses in his chair, hand on his lap. Laurel is a white woman with very short cropped hair wearing a white, long-sleeved top, shimmery blue leggings and tan leather boots; she sits in her chair and holds her hands together. Jerron Herman, a dark-skinned Black man with blonde hair wears a black long-sleeved top with a yellow tank over it with black jeans and sneakers as he stands behind Laurel and rests his arm on her chair.\u003c/p>\n\u003cp>Kinetic Light dancer Jerron Herman, a dark-skinned Black man with blonde hair and dark moustache, \u003cspan style=\"font-weight: 400\">is kneeling on his left leg on a stage illuminated by a white spotlight and smoke. He wears a loose black tunic-like hooded top with shimmery leggings and is barefoot; barbed wire is coiled around his upper torso. His right arm is stretched over his head in a curved arc, while his left arm is tucked close to his chest. He looks upward with his mouth slightly open in an expression of deep concentration.\u003cbr>\n\u003c/span>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "George Horn, Essential Invisible Man of Bay Area Music, Dies at 87",
"headTitle": "George Horn, Essential Invisible Man of Bay Area Music, Dies at 87 | KQED",
"content": "\u003cp>Whether you love hip-hop, punk, modern jazz, jam bands, salsa or country music, George Horn’s fingerprints are all over your playlist.\u003c/p>\n\u003cp>As the chief engineer at a succession of Bay Area studios, most importantly during a nearly three-decade tenure at Fantasy Studios in Berkeley, Horn mastered thousands of albums by artists including Bob Dylan, Charles Mingus, MC Hammer, the Dead Kennedys, Crosby, Stills & Nash, Simon & Garfunkel, the Grateful Dead, Creedence Clearwater Revival, Rosemary Clooney and Santana.\u003c/p>\n\u003cp>An unsurpassed master of the mysterious art of mastering, Horn died early Saturday morning at 87 from pulmonary hypertension exacerbated by COVID-19, according to brother-in-law William Stetler. Described by family and colleagues as an introverted, deeply private man, he launched his own independent mastering studio in 2008 after Concord Records acquired Fantasy’s vast catalogue of jazz labels. At his studio within the Fantasy Studios building, he and his last protégé, Anne-Marie Suenram, maintained the region’s only regularly working lathe for cutting vinyl records.\u003c/p>\n\u003cfigure id=\"attachment_13902061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/GeorgeHorn.Handbook-800x512.jpg\" alt=\"\" width=\"800\" height=\"512\" class=\"size-medium wp-image-13902061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook.jpg 1263w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Horn on the cover of ‘The Mastering Engineer’s Handbook’ (Thompson Course Technology); a recent photo in the studio. \u003ccite>(Courtesy Anne-Marie Suenram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A San Francisco native, Horn spent his teenage years building and repairing electronic devices. After working in broadcasting, he became chief engineer at a number of labels and studios, notably Columbia Records and Bill Putnam’s Coast Recorders Studios, before becoming chief engineer at Fantasy Studios in 1980. \u003c/p>\n\u003cp>The process of mastering has long held a bit of mystique. Horn learned the craft in the 1960s, when mastering was a mechanical job that meant using a record lathe to etch grooves onto a lacquer or acetate disc—and when, simultaneously, the Bay Area became ground zero for a rock movement unleashed as folk, blues and bluegrass musicians plugged in electric instruments.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='forum_2010101866567']In the digital age, the job of mastering means preparing any kind of audio for release—a more complicated job “that requires taking all these different tracks that may have been recorded in different studios with different engineers and making them sound like a coherent album,” said veteran Oakland audio engineer Myles Boisen.\u003c/p>\n\u003cp>“It’s a science and an art. As a producer, you want a good mastering engineer to sprinkle their magic mastering dust on it,” Boisen added. “There are nuances they can do above and beyond what’s done in mixing, putting the final sheen on a project before it’s transmitted to the marketplace. Mastering is the last chance for a fresh set of ears.”\u003c/p>\n\u003cfigure id=\"attachment_13902059\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Horn.Albums.jpg\" alt=\"\" width=\"600\" height=\"599\" class=\"size-full wp-image-13902059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums-768x765.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nine of the thousands of albums mastered by George Horn. Albums spanning every genre came across Horn’s sharp ear for finishing touches.\u003c/figcaption>\u003c/figure>\n\u003cp>Horn navigated the digital transition seamlessly, embracing the advent of compact discs and each subsequent sea change in the music business. At Fantasy, which owned a treasure trove of jazz recordings by epochal artists such as Miles Davis, John Coltrane, Bill Evans, and Thelonious Monk, Horn and Fantasy colleague Joe Tarantino ushered classic albums by the labels Prestige, Riverside, Contemporary, and Pablo into the digital age as part of a vast Original Jazz Classics (OJC) reissue series.\u003c/p>\n\u003cp>“For me, his major accomplishment was working on the OJC reissues, just a huge number of essential jazz records by Monk, Miles, Trane, and on and on,” Boisen said. “That earlier generation of compact discs didn’t always sound really good, but he took the time and care to make those CDs sound great.”\u003c/p>\n\u003cp>As word of Horn’s passing spread on social media, numerous musicians and colleagues reached out to share stories about him. He may have been loath to talk about his life outside the studio, but in his circle, he was a quiet force who emanated respect for the artists entrusting him with their music. Nothing seemed to faze him, and when punk rock exploded in San Francisco, he became the go-to guy for mastering their records.\u003c/p>\n\u003cfigure id=\"attachment_13902060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/George_and_rob-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13902060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Horn and Ralph Kaffel in the Fantasy Studios parking lot. \u003ccite>(Courtesy of Anne-Marie Suenram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He saw everything as a challenge, and he wanted to translate what people wanted,” said Jello Biafra, who started hiring Horn in the early 1980s for the Dead Kennedys. “Before long, he was also doing Flipper and all the stuff Subterranean put out, and of course the rest of the Alternative Tentacles releases too. I attended every single cut that he did, knowing I had somebody’s baby on the line. We had a lot of respect for each other.”\u003c/p>\n\u003cp>Among his fellow engineers, Horn was known for his versatility and exceptional ears. He imbued his artist-first sensibility in the select group of engineers he took under his wing. Gary Hobish, who runs A. Hammer Mastering and Digital Media in San Francisco, got his start under Horn at Fantasy in the early ’80s, where he learned that “in mastering, you have to be able to take on all comers,” Hobish said.\u003c/p>\n\u003cp>“George was amazing at that. It seemed to me he didn’t feel it was his place to tell somebody how their record should sound. One day you’re doing a catalog cut of a classic Bill Evans recording from 1957 and the next day you’re doing a Flipper record or MX-80, something avant garde and intentionally harsh. I never saw a reaction or judgement either way. He knew he was contributing to an artistic scene.”\u003c/p>\n\u003cfigure id=\"attachment_13901978\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901978\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/George-Horns-lathe-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1536x866.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lathe in George Horn’s studio that’s cut hundreds of albums.\u003c/figcaption>\u003c/figure>\n\u003cp>When interest in vinyl came roaring back, Horn was uniquely placed to take on the new flow of work. He never got rid of his lathe, and he had a young set of ears to assist him. Anne-Marie Suenram, a classically trained vocalist and pianist, met Horn while interning at Fantasy Studios, and he welcomed her evident interest in the mastering process.\u003c/p>\n\u003cp>“As soon as my internship was over he started training me,” she said. “Within a year, he didn’t need to oversee me and he let me do a lot of the mastering and cutting. He was very good to me. When I was expecting my daughter, he would insist on doing anything with chemicals, and he was very supportive during maternity leave.”\u003c/p>\n\u003cp>For the immediate future, Suenram will continue operations at Horn’s studio in Berkeley, cutting records and mastering albums. She’ll also be talking about him, she knows, for years to come.\u003c/p>\n\u003cp>“He really was very much a background character,” Suenram says, “and I’d like people to know about him.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Horn is survived by his wife of 20 years, Diane Mansfield. Services will take place graveside on Friday, Aug. 27, at 2:45pm, at Holy Cross Cemetery in Colma. Due to COVID, no gathering will follow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether you love hip-hop, punk, modern jazz, jam bands, salsa or country music, George Horn’s fingerprints are all over your playlist.\u003c/p>\n\u003cp>As the chief engineer at a succession of Bay Area studios, most importantly during a nearly three-decade tenure at Fantasy Studios in Berkeley, Horn mastered thousands of albums by artists including Bob Dylan, Charles Mingus, MC Hammer, the Dead Kennedys, Crosby, Stills & Nash, Simon & Garfunkel, the Grateful Dead, Creedence Clearwater Revival, Rosemary Clooney and Santana.\u003c/p>\n\u003cp>An unsurpassed master of the mysterious art of mastering, Horn died early Saturday morning at 87 from pulmonary hypertension exacerbated by COVID-19, according to brother-in-law William Stetler. Described by family and colleagues as an introverted, deeply private man, he launched his own independent mastering studio in 2008 after Concord Records acquired Fantasy’s vast catalogue of jazz labels. At his studio within the Fantasy Studios building, he and his last protégé, Anne-Marie Suenram, maintained the region’s only regularly working lathe for cutting vinyl records.\u003c/p>\n\u003cfigure id=\"attachment_13902061\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/GeorgeHorn.Handbook-800x512.jpg\" alt=\"\" width=\"800\" height=\"512\" class=\"size-medium wp-image-13902061\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-1020x653.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/GeorgeHorn.Handbook.jpg 1263w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Horn on the cover of ‘The Mastering Engineer’s Handbook’ (Thompson Course Technology); a recent photo in the studio. \u003ccite>(Courtesy Anne-Marie Suenram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A San Francisco native, Horn spent his teenage years building and repairing electronic devices. After working in broadcasting, he became chief engineer at a number of labels and studios, notably Columbia Records and Bill Putnam’s Coast Recorders Studios, before becoming chief engineer at Fantasy Studios in 1980. \u003c/p>\n\u003cp>The process of mastering has long held a bit of mystique. Horn learned the craft in the 1960s, when mastering was a mechanical job that meant using a record lathe to etch grooves onto a lacquer or acetate disc—and when, simultaneously, the Bay Area became ground zero for a rock movement unleashed as folk, blues and bluegrass musicians plugged in electric instruments.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the digital age, the job of mastering means preparing any kind of audio for release—a more complicated job “that requires taking all these different tracks that may have been recorded in different studios with different engineers and making them sound like a coherent album,” said veteran Oakland audio engineer Myles Boisen.\u003c/p>\n\u003cp>“It’s a science and an art. As a producer, you want a good mastering engineer to sprinkle their magic mastering dust on it,” Boisen added. “There are nuances they can do above and beyond what’s done in mixing, putting the final sheen on a project before it’s transmitted to the marketplace. Mastering is the last chance for a fresh set of ears.”\u003c/p>\n\u003cfigure id=\"attachment_13902059\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Horn.Albums.jpg\" alt=\"\" width=\"600\" height=\"599\" class=\"size-full wp-image-13902059\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums-160x159.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Horn.Albums-768x765.jpg 768w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Nine of the thousands of albums mastered by George Horn. Albums spanning every genre came across Horn’s sharp ear for finishing touches.\u003c/figcaption>\u003c/figure>\n\u003cp>Horn navigated the digital transition seamlessly, embracing the advent of compact discs and each subsequent sea change in the music business. At Fantasy, which owned a treasure trove of jazz recordings by epochal artists such as Miles Davis, John Coltrane, Bill Evans, and Thelonious Monk, Horn and Fantasy colleague Joe Tarantino ushered classic albums by the labels Prestige, Riverside, Contemporary, and Pablo into the digital age as part of a vast Original Jazz Classics (OJC) reissue series.\u003c/p>\n\u003cp>“For me, his major accomplishment was working on the OJC reissues, just a huge number of essential jazz records by Monk, Miles, Trane, and on and on,” Boisen said. “That earlier generation of compact discs didn’t always sound really good, but he took the time and care to make those CDs sound great.”\u003c/p>\n\u003cp>As word of Horn’s passing spread on social media, numerous musicians and colleagues reached out to share stories about him. He may have been loath to talk about his life outside the studio, but in his circle, he was a quiet force who emanated respect for the artists entrusting him with their music. Nothing seemed to faze him, and when punk rock exploded in San Francisco, he became the go-to guy for mastering their records.\u003c/p>\n\u003cfigure id=\"attachment_13902060\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/George_and_rob-800x532.jpg\" alt=\"\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13902060\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob-1536x1021.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George_and_rob.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Horn and Ralph Kaffel in the Fantasy Studios parking lot. \u003ccite>(Courtesy of Anne-Marie Suenram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“He saw everything as a challenge, and he wanted to translate what people wanted,” said Jello Biafra, who started hiring Horn in the early 1980s for the Dead Kennedys. “Before long, he was also doing Flipper and all the stuff Subterranean put out, and of course the rest of the Alternative Tentacles releases too. I attended every single cut that he did, knowing I had somebody’s baby on the line. We had a lot of respect for each other.”\u003c/p>\n\u003cp>Among his fellow engineers, Horn was known for his versatility and exceptional ears. He imbued his artist-first sensibility in the select group of engineers he took under his wing. Gary Hobish, who runs A. Hammer Mastering and Digital Media in San Francisco, got his start under Horn at Fantasy in the early ’80s, where he learned that “in mastering, you have to be able to take on all comers,” Hobish said.\u003c/p>\n\u003cp>“George was amazing at that. It seemed to me he didn’t feel it was his place to tell somebody how their record should sound. One day you’re doing a catalog cut of a classic Bill Evans recording from 1957 and the next day you’re doing a Flipper record or MX-80, something avant garde and intentionally harsh. I never saw a reaction or judgement either way. He knew he was contributing to an artistic scene.”\u003c/p>\n\u003cfigure id=\"attachment_13901978\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13901978\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/George-Horns-lathe-800x451.jpg\" alt=\"\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1536x866.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/George-Horns-lathe.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The lathe in George Horn’s studio that’s cut hundreds of albums.\u003c/figcaption>\u003c/figure>\n\u003cp>When interest in vinyl came roaring back, Horn was uniquely placed to take on the new flow of work. He never got rid of his lathe, and he had a young set of ears to assist him. Anne-Marie Suenram, a classically trained vocalist and pianist, met Horn while interning at Fantasy Studios, and he welcomed her evident interest in the mastering process.\u003c/p>\n\u003cp>“As soon as my internship was over he started training me,” she said. “Within a year, he didn’t need to oversee me and he let me do a lot of the mastering and cutting. He was very good to me. When I was expecting my daughter, he would insist on doing anything with chemicals, and he was very supportive during maternity leave.”\u003c/p>\n\u003cp>For the immediate future, Suenram will continue operations at Horn’s studio in Berkeley, cutting records and mastering albums. She’ll also be talking about him, she knows, for years to come.\u003c/p>\n\u003cp>“He really was very much a background character,” Suenram says, “and I’d like people to know about him.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Horn is survived by his wife of 20 years, Diane Mansfield. Services will take place graveside on Friday, Aug. 27, at 2:45pm, at Holy Cross Cemetery in Colma. Due to COVID, no gathering will follow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Building Confidence One Power Tool at a Time at Berkeley's Girls Garage",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5267778834\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Bookcases and bird feeders take shape amid the whir of chop saws, the bang of hammers and the trill of drills. Behind the power tools are girls and non-binary young folks, mostly in high school and middle school, but the youngest builders start at age 9.\u003c/p>\n\u003cfigure id=\"attachment_13900427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC00904-800x535.jpg\" alt=\"Emily Pilloton-Lam stands next to a flower box made by Girls Garage students and donated to the BOSS organization. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Pilloton-Lam stands next to a flower box made by Girls Garage students and donated to the BOSS organization. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re all students at West Berkeley’s \u003ca href=\"https://girlsgarage.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls Garage, \u003c/a>which was founded by \u003ca href=\"https://twitter.com/emilypilloton?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Pilloton-Lam\u003c/a> in 2013. The organization’s mission is to make sure the young apprentices have the physical and metaphorical tools to get the job – any job – done.\u003c/p>\n\u003cp>This week, we’re back to talking to people in-person for the first time in over a year. And what better way to get out there than to jump into the saw dust and discuss all that comes from the process of building.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Emily Pilloton-Lam.\u003c/strong>\u003c/p>\n\u003cp>Emily: One of the first tools that we teach is the chop saw or the miter saw. The one we have is a 12 inch blade. That’s a blade that’s bigger than your 9-year-old head. And that’s actually a really important thing for us: I want to welcome young people by inviting them to do things that they’re scared of…\u003c/p>\n\u003cp>\u003cem>Pen: First day in… chop saw? Goodness…\u003c/em>\u003c/p>\n\u003cp>Emily: I do feel like bravery is a thing that can be practiced. It’s a muscle that can be flexed. And so I want young people to have that experience of being afraid and of having someone standing next to you saying, you can do it. And every time you do it, it becomes less scary, to the point where you feel like an expert and where you can actually pass that on to others.\u003c/p>\n\u003cp>\u003cem>Pen: What do you actually build?\u003c/em>\u003c/p>\n\u003cp>Emily: We build everything from small-scale — sort of practice projects — like a birdhouse or a catapult. We use those small projects as stepping stones to get to full-scale design build projects for our community. And so examples of that are a 500 square foot chicken coop for Urban Tilth, which is an urban farm in North Richmond, sandboxes for local preschools. This summer we’re building a greenhouse for a middle school. And so it’s important that our projects are beautiful, well engineered structures that we want to live on for years and serve our community in really specific ways.\u003c/p>\n\u003cp>\u003cem>Pen: How do you choose what community partners you work with?\u003c/em>\u003c/p>\n\u003cp>Emily: We like to work with community partners who are really on the ground, direct aid, mutual aid models. And so if we can build you bookshelves or a chicken pavilion at no cost to you, then we’re able to sort of double our impact within the nonprofit sector in the Bay Area.\u003c/p>\n\u003cp>\u003cem>Pen: Beyond talking about the social and ethical issues that come up, how do you actually teach students hands on skills especially when students have different needs and learning styles?\u003c/em>\u003c/p>\n\u003cp>Emily: This is actually why I think design and building and construction is such a great activity for young people, because in some ways it’s the great equalizer. There are things that are very precise and there are things that are not that are a lot more just creative and art based. Like, if I’m really good at math, there’s a way to approach building a birdhouse. That’s very math specific. Let’s get all the dimensions right. Let’s get everything all lined up. If I’m more of a sort of abstract visual learner, then let’s do a crazy sketch and let’s figure out how to make that thing happen. There’s a sound component we teach like how to listen to your tools to know what’s going right and going wrong. I think there’s so many different ways to teach building. So to me, I think this is the perfect medium. It is really an invitation for anyone who learns in any way who’s interested in anything, like I’ll find a place for you in this project.\u003c/p>\n\u003cp>\u003cem>Pen: On top of having that skill set in their metaphorical tool toolbox, they walk out the door with a literal toolbox as well?\u003c/em>\u003c/p>\n\u003cp>Emily: They do, yes! we want to give something to girls that they can take with them when they’re not physically in our space, so that as they grow up and identify as builders and they’re at home and something breaks or they think, oh, I want to build a bookshelf, that they have the literal tools to do that. And so every teen girl who’s in our program is gifted a toolbox that’s about the size of a picnic cooler. It’s huge and it has twenty something tools in it.\u003c/p>\n\u003cp>Emily: The accumulation of the tools and the equipping yourself is often the barrier. It’s a financial barrier or a resource barrier. And so by providing this toolbox, we’re just removing that barrier and saying you have everything you need. Maybe you have to Google something, but you got this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC5267778834\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Bookcases and bird feeders take shape amid the whir of chop saws, the bang of hammers and the trill of drills. Behind the power tools are girls and non-binary young folks, mostly in high school and middle school, but the youngest builders start at age 9.\u003c/p>\n\u003cfigure id=\"attachment_13900427\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900427\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC00904-800x535.jpg\" alt=\"Emily Pilloton-Lam stands next to a flower box made by Girls Garage students and donated to the BOSS organization. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC00904.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Pilloton-Lam stands next to a flower box made by Girls Garage students and donated to the BOSS organization. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>They’re all students at West Berkeley’s \u003ca href=\"https://girlsgarage.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Girls Garage, \u003c/a>which was founded by \u003ca href=\"https://twitter.com/emilypilloton?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">Emily Pilloton-Lam\u003c/a> in 2013. The organization’s mission is to make sure the young apprentices have the physical and metaphorical tools to get the job – any job – done.\u003c/p>\n\u003cp>This week, we’re back to talking to people in-person for the first time in over a year. And what better way to get out there than to jump into the saw dust and discuss all that comes from the process of building.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Emily Pilloton-Lam.\u003c/strong>\u003c/p>\n\u003cp>Emily: One of the first tools that we teach is the chop saw or the miter saw. The one we have is a 12 inch blade. That’s a blade that’s bigger than your 9-year-old head. And that’s actually a really important thing for us: I want to welcome young people by inviting them to do things that they’re scared of…\u003c/p>\n\u003cp>\u003cem>Pen: First day in… chop saw? Goodness…\u003c/em>\u003c/p>\n\u003cp>Emily: I do feel like bravery is a thing that can be practiced. It’s a muscle that can be flexed. And so I want young people to have that experience of being afraid and of having someone standing next to you saying, you can do it. And every time you do it, it becomes less scary, to the point where you feel like an expert and where you can actually pass that on to others.\u003c/p>\n\u003cp>\u003cem>Pen: What do you actually build?\u003c/em>\u003c/p>\n\u003cp>Emily: We build everything from small-scale — sort of practice projects — like a birdhouse or a catapult. We use those small projects as stepping stones to get to full-scale design build projects for our community. And so examples of that are a 500 square foot chicken coop for Urban Tilth, which is an urban farm in North Richmond, sandboxes for local preschools. This summer we’re building a greenhouse for a middle school. And so it’s important that our projects are beautiful, well engineered structures that we want to live on for years and serve our community in really specific ways.\u003c/p>\n\u003cp>\u003cem>Pen: How do you choose what community partners you work with?\u003c/em>\u003c/p>\n\u003cp>Emily: We like to work with community partners who are really on the ground, direct aid, mutual aid models. And so if we can build you bookshelves or a chicken pavilion at no cost to you, then we’re able to sort of double our impact within the nonprofit sector in the Bay Area.\u003c/p>\n\u003cp>\u003cem>Pen: Beyond talking about the social and ethical issues that come up, how do you actually teach students hands on skills especially when students have different needs and learning styles?\u003c/em>\u003c/p>\n\u003cp>Emily: This is actually why I think design and building and construction is such a great activity for young people, because in some ways it’s the great equalizer. There are things that are very precise and there are things that are not that are a lot more just creative and art based. Like, if I’m really good at math, there’s a way to approach building a birdhouse. That’s very math specific. Let’s get all the dimensions right. Let’s get everything all lined up. If I’m more of a sort of abstract visual learner, then let’s do a crazy sketch and let’s figure out how to make that thing happen. There’s a sound component we teach like how to listen to your tools to know what’s going right and going wrong. I think there’s so many different ways to teach building. So to me, I think this is the perfect medium. It is really an invitation for anyone who learns in any way who’s interested in anything, like I’ll find a place for you in this project.\u003c/p>\n\u003cp>\u003cem>Pen: On top of having that skill set in their metaphorical tool toolbox, they walk out the door with a literal toolbox as well?\u003c/em>\u003c/p>\n\u003cp>Emily: They do, yes! we want to give something to girls that they can take with them when they’re not physically in our space, so that as they grow up and identify as builders and they’re at home and something breaks or they think, oh, I want to build a bookshelf, that they have the literal tools to do that. And so every teen girl who’s in our program is gifted a toolbox that’s about the size of a picnic cooler. It’s huge and it has twenty something tools in it.\u003c/p>\n\u003cp>Emily: The accumulation of the tools and the equipping yourself is often the barrier. It’s a financial barrier or a resource barrier. And so by providing this toolbox, we’re just removing that barrier and saying you have everything you need. Maybe you have to Google something, but you got this.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Stunnaman02 and the 'Big Steppin' Energy in the Room",
"headTitle": "Stunnaman02 and the ‘Big Steppin’ Energy in the Room | KQED",
"content": "\u003cp>I could write a whole book about the energy bouncing off the walls at Cornerstone in Berkeley on Saturday night—and specifically, from Stunnaman02.\u003c/p>\n\u003cp>I watched handshakes between reunited friends turn into palm-grasping mini-gig sessions. Airborne beach balls that drew people toward the stage. A sprayed bottle of champagne that caused them to retreat. At one point during the action-filled evening, a woman stood on the edge of the balcony, twerking a full story above the rest of the world.\u003c/p>\n\u003cp>All through the night, I watched energy emit from a crowd of true Bay Area hip-hop lovers. I took as many photos as I could, all the while knowing that capturing images doesn’t equate to capturing a vibe.\u003c/p>\n\u003cfigure id=\"attachment_13900090\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01441-800x535.jpg\" alt=\"Attendees hold up their phones, capturing footage of Nef The Pharaoh performing at Cornerstone in Berkeley. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees hold up their phones while Nef The Pharaoh performs at Cornerstone in Berkeley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlined by \u003ca href=\"https://www.instagram.com/bosslifebigspence/\">BossLife Big Spence\u003c/a> and \u003ca href=\"https://www.instagram.com/10piecetone/\">10 Piece Tone\u003c/a>, the building played host to a wide array of Bay Area talent, including \u003ca href=\"https://www.instagram.com/y0ungbari/\">Young Bari\u003c/a>, \u003ca href=\"https://www.instagram.com/oskiedoubleff/\">Oskie\u003c/a>, \u003ca href=\"https://www.instagram.com/slimyani/\">Slim Yani\u003c/a>, and \u003ca href=\"https://www.instagram.com/nefthepharaoh/\">Nef The Pharaoh\u003c/a>.\u003c/p>\n\u003cp>I moved from the balcony to the front of the stage, taking photos and monitoring the energy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I took note of how the vocals of one of the opening acts were drowned out by the recorded track that they were supposed to be rapping over. I acknowledged the way seasoned veterans, like Hieroglyphics’ \u003ca href=\"https://www.instagram.com/djtourehiero/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Toure\u003c/a> and San Francisco’s \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>, played the cut and let the youngsters turn up. I listened as \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a> managed the music on the ones and twos, and simultaneously controlled the amount of people on stage—or at least attempted to.\u003c/p>\n\u003cfigure id=\"attachment_13900089\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01486-800x535.jpg\" alt=\"10 Piece Tone punches an oversized beach ball in the air while performing at Cornerstone in Berkeley. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">10 Piece Tone punches an oversized beach ball in the air while performing at Cornerstone in Berkeley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I laughed at the way the thick weed smoke and lack of air conditioning made the term “hot box” an accurate double entendre. By the time the opening acts concluded, it was house-party hot inside of that joint. Then Stunnaman02 hit the stage, turning up the temperature, the energy, and every other lever he could find.\u003c/p>\n\u003cp>Stunnaman02 went from the edge of the stage to rapping in the middle of the crowd. I perched myself in the balcony to take bird’s eye view photos of his performance, only for him to run upstairs, past me, down the next stairway and eventually end up on top of the bar, rapping the whole time.\u003c/p>\n\u003cfigure id=\"attachment_13900091\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01419-800x535.jpg\" alt=\"A bird's eye view shot of Stunnaman02 standing on stage and performing. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A bird’s eye view shot of Stunnaman02 standing on stage and performing. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hailing from San Francisco, Stunnaman02 is the artist behind the high-energy track “\u003ca href=\"https://www.youtube.com/watch?v=h8T00Bx1eQ0\">Gut Check\u003c/a>,” and the more laid-back song “\u003ca href=\"https://www.youtube.com/watch?v=7remciyEOlg\">SloMo\u003c/a>.” He’s also the guy behind the regional hit that’s quickly becoming the Bay Area the song of the summer, “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\">Big Steppin\u003c/a>.”\u003c/p>\n\u003cp>Over the weekend a video surfaced of \u003ca href=\"https://twitter.com/TheThizzler/status/1415854066907942916?s=20\">Stunnaman02 and E-40\u003c/a> doing the \u003ca href=\"https://www.instagram.com/explore/tags/bigsteppin02challenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin Challenge\u003c/a>, a dance trend that rhythmically mimics the act of bench pressing. As of this article’s publication, Stunnaman02 has recorded 41 straight days of himself doing the dance, oftentimes appearing in notable Bay Area locations with other known artists.\u003c/p>\n\u003cp>Late last month, Stunnaman02 teamed up with fellow Fillmore artist and actor Gunna Goes Global to drop the uptempo album \u003ca href=\"https://album.link/i/1574456703\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Feel More\u003c/em>\u003c/a>. Stunnaman02, real name Jordan Gomes, is also an actor, featured alongside Gunna Goes Global in the film \u003ci>The Last Black Man in San Francisco.\u003c/i> And he plays the role of a cop in the web series\u003ca href=\"https://www.youtube.com/watch?v=8zOO8fQHsic\">\u003ci> Rent Check\u003c/i>\u003c/a>. On top of that, Stunnaman02 is an entrepreneur, \u003ca href=\"https://www.instagram.com/stillwinnin02/\">selling clothing \u003c/a>and a self-made beverage, 02 Juice. And if that’s not enough, Stunnaman02 was a part of a group that momentarily \u003ca href=\"https://www.youtube.com/watch?v=asjKLWaNWg8\" target=\"_blank\" rel=\"noopener noreferrer\">shut down the Bay Bridge\u003c/a> last year, protesting police brutality.\u003c/p>\n\u003cfigure id=\"attachment_13900087\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900087\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01433-800x535.jpg\" alt=\"A fan in a San Francisco Giants hat takes in Stunnaman02's performance, as the emcee perches on the bar in the back of the venue. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan in a San Francisco Giants hat takes in the show as Stunnaman02 perches on the bar in the back of the venue. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this to say: he’s an active dude. But he’s not just a hyphy-ass live wire.\u003c/p>\n\u003cp>At one of the last pre-pandemic events I attended, in February of 2020, I bumped into Stunnaman02 at Oakland’s Black Joy Parade. He was stopping anyone and everyone who would listen to him, asking nothing more than that person have a great day.\u003c/p>\n\u003cp>This past weekend, during the show at Cornerstone in Berkeley, he showed that same sincerity.\u003c/p>\n\u003cfigure id=\"attachment_13900092\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01405-800x535.jpg\" alt=\"Stunnaman02 stands in sea of people, performing. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 stands in sea of people, performing. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After tearing his shirt off and rocking the crowd, Stunnaman02 concluded his set with a prayer.\u003c/p>\n\u003cp>The crowd simmered as Stunnaman02 asked for the health of all of those in attendance. He rattled off a long list of specific types of health, including financial and mental. He then said the names of a couple of deceased friends, before screaming into the microphone, “WE STILL WINNING!”\u003c/p>\n\u003cfigure id=\"attachment_13900086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01500-800x535.jpg\" alt=\"10 Piece Tone and Boss Life Big Spence perform as DJ Meles sprays a bottle of champagne on the crowd.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">10 Piece Tone and Boss Life Big Spence perform as DJ Meles sprays a bottle of champagne on the crowd. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists followed, and the show’s energy didn’t wane. Young Bari lit up the crowd when he came out giggin’ to his track “\u003ca href=\"https://youtu.be/EU1ryBN9fVw\" target=\"_blank\" rel=\"noopener noreferrer\">So Mobby\u003c/a>.” BossLife Big Spence and 10 Piece Tone rocked the stage for a few minutes, took a set break and doubled back with an outfit change—and then rocked the crowd some more.\u003c/p>\n\u003cp>My weary legs, fatigued from not attending a fully energized live hip-hop show in over a calendar year, told me it was time to leave. As I exited the building and made my way back out to the Berkeley streets, I saw producer \u003ca href=\"https://www.instagram.com/quakebeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Quakebeatz\u003c/a> and Stunnaman02, and used my last bit of energy to congratulate them on a successful show.\u003c/p>\n\u003cp>Looking back at the footage from that night, some true gems were documented. A \u003ca href=\"https://www.instagram.com/p/CRhhOdYsQE5/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">photo set by Sydney Welch\u003c/a> does justice to what took place that evening. And a duo of Instagram posts between \u003ca href=\"https://www.instagram.com/p/CRg9xZ-MH4m/\" target=\"_blank\" rel=\"noopener noreferrer\">BossLife Big Spence\u003c/a> and a huge fan of his, \u003ca href=\"https://www.instagram.com/p/CRe7gIMnYeQ/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Big Less\u003c/a>, who says Big Spence’s music has helped him with his battle against stage four cancer, really puts the power of that evening into perspective.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Yeah, there could be easily be a book written about the energy of Bay Area hip-hop artists and fans. But words and photos never fully capture that energy—you’ve just got to experience it.\u003c/p>\n\n",
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"excerpt": "The Bay Area's song of the summer gets an East Bay crowd active after a year spent in lockdown.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I could write a whole book about the energy bouncing off the walls at Cornerstone in Berkeley on Saturday night—and specifically, from Stunnaman02.\u003c/p>\n\u003cp>I watched handshakes between reunited friends turn into palm-grasping mini-gig sessions. Airborne beach balls that drew people toward the stage. A sprayed bottle of champagne that caused them to retreat. At one point during the action-filled evening, a woman stood on the edge of the balcony, twerking a full story above the rest of the world.\u003c/p>\n\u003cp>All through the night, I watched energy emit from a crowd of true Bay Area hip-hop lovers. I took as many photos as I could, all the while knowing that capturing images doesn’t equate to capturing a vibe.\u003c/p>\n\u003cfigure id=\"attachment_13900090\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900090\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01441-800x535.jpg\" alt=\"Attendees hold up their phones, capturing footage of Nef The Pharaoh performing at Cornerstone in Berkeley. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01441.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees hold up their phones while Nef The Pharaoh performs at Cornerstone in Berkeley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Headlined by \u003ca href=\"https://www.instagram.com/bosslifebigspence/\">BossLife Big Spence\u003c/a> and \u003ca href=\"https://www.instagram.com/10piecetone/\">10 Piece Tone\u003c/a>, the building played host to a wide array of Bay Area talent, including \u003ca href=\"https://www.instagram.com/y0ungbari/\">Young Bari\u003c/a>, \u003ca href=\"https://www.instagram.com/oskiedoubleff/\">Oskie\u003c/a>, \u003ca href=\"https://www.instagram.com/slimyani/\">Slim Yani\u003c/a>, and \u003ca href=\"https://www.instagram.com/nefthepharaoh/\">Nef The Pharaoh\u003c/a>.\u003c/p>\n\u003cp>I moved from the balcony to the front of the stage, taking photos and monitoring the energy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I took note of how the vocals of one of the opening acts were drowned out by the recorded track that they were supposed to be rapping over. I acknowledged the way seasoned veterans, like Hieroglyphics’ \u003ca href=\"https://www.instagram.com/djtourehiero/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Toure\u003c/a> and San Francisco’s \u003ca href=\"https://www.instagram.com/big.rich/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Rich\u003c/a>, played the cut and let the youngsters turn up. I listened as \u003ca href=\"https://www.instagram.com/drewwwbanga/\" target=\"_blank\" rel=\"noopener noreferrer\">Drew Banga\u003c/a> managed the music on the ones and twos, and simultaneously controlled the amount of people on stage—or at least attempted to.\u003c/p>\n\u003cfigure id=\"attachment_13900089\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900089\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01486-800x535.jpg\" alt=\"10 Piece Tone punches an oversized beach ball in the air while performing at Cornerstone in Berkeley. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01486.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">10 Piece Tone punches an oversized beach ball in the air while performing at Cornerstone in Berkeley. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I laughed at the way the thick weed smoke and lack of air conditioning made the term “hot box” an accurate double entendre. By the time the opening acts concluded, it was house-party hot inside of that joint. Then Stunnaman02 hit the stage, turning up the temperature, the energy, and every other lever he could find.\u003c/p>\n\u003cp>Stunnaman02 went from the edge of the stage to rapping in the middle of the crowd. I perched myself in the balcony to take bird’s eye view photos of his performance, only for him to run upstairs, past me, down the next stairway and eventually end up on top of the bar, rapping the whole time.\u003c/p>\n\u003cfigure id=\"attachment_13900091\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900091\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01419-800x535.jpg\" alt=\"A bird's eye view shot of Stunnaman02 standing on stage and performing. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01419.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A bird’s eye view shot of Stunnaman02 standing on stage and performing. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hailing from San Francisco, Stunnaman02 is the artist behind the high-energy track “\u003ca href=\"https://www.youtube.com/watch?v=h8T00Bx1eQ0\">Gut Check\u003c/a>,” and the more laid-back song “\u003ca href=\"https://www.youtube.com/watch?v=7remciyEOlg\">SloMo\u003c/a>.” He’s also the guy behind the regional hit that’s quickly becoming the Bay Area the song of the summer, “\u003ca href=\"https://www.youtube.com/watch?v=5svEkex2YYo\">Big Steppin\u003c/a>.”\u003c/p>\n\u003cp>Over the weekend a video surfaced of \u003ca href=\"https://twitter.com/TheThizzler/status/1415854066907942916?s=20\">Stunnaman02 and E-40\u003c/a> doing the \u003ca href=\"https://www.instagram.com/explore/tags/bigsteppin02challenge/\" target=\"_blank\" rel=\"noopener noreferrer\">Big Steppin Challenge\u003c/a>, a dance trend that rhythmically mimics the act of bench pressing. As of this article’s publication, Stunnaman02 has recorded 41 straight days of himself doing the dance, oftentimes appearing in notable Bay Area locations with other known artists.\u003c/p>\n\u003cp>Late last month, Stunnaman02 teamed up with fellow Fillmore artist and actor Gunna Goes Global to drop the uptempo album \u003ca href=\"https://album.link/i/1574456703\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Feel More\u003c/em>\u003c/a>. Stunnaman02, real name Jordan Gomes, is also an actor, featured alongside Gunna Goes Global in the film \u003ci>The Last Black Man in San Francisco.\u003c/i> And he plays the role of a cop in the web series\u003ca href=\"https://www.youtube.com/watch?v=8zOO8fQHsic\">\u003ci> Rent Check\u003c/i>\u003c/a>. On top of that, Stunnaman02 is an entrepreneur, \u003ca href=\"https://www.instagram.com/stillwinnin02/\">selling clothing \u003c/a>and a self-made beverage, 02 Juice. And if that’s not enough, Stunnaman02 was a part of a group that momentarily \u003ca href=\"https://www.youtube.com/watch?v=asjKLWaNWg8\" target=\"_blank\" rel=\"noopener noreferrer\">shut down the Bay Bridge\u003c/a> last year, protesting police brutality.\u003c/p>\n\u003cfigure id=\"attachment_13900087\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900087\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01433-800x535.jpg\" alt=\"A fan in a San Francisco Giants hat takes in Stunnaman02's performance, as the emcee perches on the bar in the back of the venue. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01433.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan in a San Francisco Giants hat takes in the show as Stunnaman02 perches on the bar in the back of the venue. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of this to say: he’s an active dude. But he’s not just a hyphy-ass live wire.\u003c/p>\n\u003cp>At one of the last pre-pandemic events I attended, in February of 2020, I bumped into Stunnaman02 at Oakland’s Black Joy Parade. He was stopping anyone and everyone who would listen to him, asking nothing more than that person have a great day.\u003c/p>\n\u003cp>This past weekend, during the show at Cornerstone in Berkeley, he showed that same sincerity.\u003c/p>\n\u003cfigure id=\"attachment_13900092\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900092\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01405-800x535.jpg\" alt=\"Stunnaman02 stands in sea of people, performing. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01405.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stunnaman02 stands in sea of people, performing. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After tearing his shirt off and rocking the crowd, Stunnaman02 concluded his set with a prayer.\u003c/p>\n\u003cp>The crowd simmered as Stunnaman02 asked for the health of all of those in attendance. He rattled off a long list of specific types of health, including financial and mental. He then said the names of a couple of deceased friends, before screaming into the microphone, “WE STILL WINNING!”\u003c/p>\n\u003cfigure id=\"attachment_13900086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/DSC01500-800x535.jpg\" alt=\"10 Piece Tone and Boss Life Big Spence perform as DJ Meles sprays a bottle of champagne on the crowd.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/DSC01500.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">10 Piece Tone and Boss Life Big Spence perform as DJ Meles sprays a bottle of champagne on the crowd. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists followed, and the show’s energy didn’t wane. Young Bari lit up the crowd when he came out giggin’ to his track “\u003ca href=\"https://youtu.be/EU1ryBN9fVw\" target=\"_blank\" rel=\"noopener noreferrer\">So Mobby\u003c/a>.” BossLife Big Spence and 10 Piece Tone rocked the stage for a few minutes, took a set break and doubled back with an outfit change—and then rocked the crowd some more.\u003c/p>\n\u003cp>My weary legs, fatigued from not attending a fully energized live hip-hop show in over a calendar year, told me it was time to leave. As I exited the building and made my way back out to the Berkeley streets, I saw producer \u003ca href=\"https://www.instagram.com/quakebeatz/\" target=\"_blank\" rel=\"noopener noreferrer\">Quakebeatz\u003c/a> and Stunnaman02, and used my last bit of energy to congratulate them on a successful show.\u003c/p>\n\u003cp>Looking back at the footage from that night, some true gems were documented. A \u003ca href=\"https://www.instagram.com/p/CRhhOdYsQE5/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">photo set by Sydney Welch\u003c/a> does justice to what took place that evening. And a duo of Instagram posts between \u003ca href=\"https://www.instagram.com/p/CRg9xZ-MH4m/\" target=\"_blank\" rel=\"noopener noreferrer\">BossLife Big Spence\u003c/a> and a huge fan of his, \u003ca href=\"https://www.instagram.com/p/CRe7gIMnYeQ/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Big Less\u003c/a>, who says Big Spence’s music has helped him with his battle against stage four cancer, really puts the power of that evening into perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yeah, there could be easily be a book written about the energy of Bay Area hip-hop artists and fans. But words and photos never fully capture that energy—you’ve just got to experience it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Diana Guerrero-Maciá’s Textile Work Lights Up Traywick Contemporary",
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"content": "\u003cp>In the light-filled space of \u003ca href=\"http://www.traywick.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Traywick Contemporary\u003c/a>’s Berkeley building, the textile works in Chicago artist Diana Guerrero-Maciá’s \u003ci>\u003ca href=\"http://www.traywick.com/2021/guerrero-macia/\" rel=\"noopener noreferrer\" target=\"_blank\">Light Falls Fast\u003c/a>\u003c/i> have their own inner glow. Warm hues of sunset orange, bumblebee yellow and rosy pinks dominate each piece, whether in the form of screenprinted stripes on paper or strips of colored wool. Fringe-edged cloth rectangles of pure color checker the walls behind framed works and stretched canvases, like escaped remnants from Guerrero-Maciá’s detailed arrangements.[aside postID='arts_13898042']\u003c/p>\n\u003cp>\u003ci>Light Falls Fast\u003c/i> freely mingles abstraction and iconography, while artwork titles hint at larger issues of immigration and economic justice. The show’s opening piece, an assemblage on canvas titled \u003ci>Anchor Baby\u003c/i>, depicts a figure in a blue buffalo plaid cradle. Its “head” turns into the shape of a spade, but is also covered in a quilt-like smattering of orange triangles. A small yellow circle (a personal sun?) sits, pierced with a safety pin, in the canvas’ top left corner.\u003c/p>\n\u003cp>That pin is a nod to a punk aesthetic (and cloth diapers), but it also calls to mind the brief period in 2016 when people wore safety pins to signal their status as allies. \u003ci>Light Falls Fast\u003c/i> feels, tonally, far from the early days of the Trump presidency, but the sense of freshness and relief it captures is a direct result of both the darkness of the past four years and the more recent horror of the pandemic.\u003c/p>\n\u003cp>\u003ci>Second Shift\u003c/i>, another large work on canvas, adopts the grid of quilting, but disrupts its own symmetry with irregular black bars. Its title, too, holds larger meaning: a second shift, usually the hours between 4 or 5pm and 1am, is the purview of the working class and the overworked. Being awake at first light, Guerrero-Maciá reminds, is not always a romantic choice. \u003c/p>\n\u003cfigure id=\"attachment_13899925\" class=\"wp-caption aligncenter\" style=\"max-width: 902px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web.jpg\" alt=\"\" width=\"902\" height=\"779\" class=\"size-full wp-image-13899925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web.jpg 902w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web-768x663.jpg 768w\" sizes=\"(max-width: 902px) 100vw, 902px\">\u003cfigcaption class=\"wp-caption-text\">Diana Guerrero-Maciá, ‘Closer to the Sun no.5,’ 2021; Unique silkscreen with wool, dyed canvas and cotton on paper. \u003ccite>(Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, the beauty of sunrises and sunsets—the colors those moments produce, the sense of awe they can engender—suffuse \u003ci>Light Falls Fast\u003c/i>. The show’s parting work is gleefully optimistic, a collage on screenprinted paper that automatically triggers a smile because it is, itself, smiling, with daisy eyes and a crooked, ribbon-like grin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Light Falls Fast’ is on view at Traywick Contemporary (895 Colusa Ave., Berkeley) through July 24. \u003ca href=\"http://www.traywick.com/2021/guerrero-macia/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The Chicago artist’s solo show blends abstraction and iconography with a warm palette that spells optimism.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the light-filled space of \u003ca href=\"http://www.traywick.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Traywick Contemporary\u003c/a>’s Berkeley building, the textile works in Chicago artist Diana Guerrero-Maciá’s \u003ci>\u003ca href=\"http://www.traywick.com/2021/guerrero-macia/\" rel=\"noopener noreferrer\" target=\"_blank\">Light Falls Fast\u003c/a>\u003c/i> have their own inner glow. Warm hues of sunset orange, bumblebee yellow and rosy pinks dominate each piece, whether in the form of screenprinted stripes on paper or strips of colored wool. Fringe-edged cloth rectangles of pure color checker the walls behind framed works and stretched canvases, like escaped remnants from Guerrero-Maciá’s detailed arrangements.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Light Falls Fast\u003c/i> freely mingles abstraction and iconography, while artwork titles hint at larger issues of immigration and economic justice. The show’s opening piece, an assemblage on canvas titled \u003ci>Anchor Baby\u003c/i>, depicts a figure in a blue buffalo plaid cradle. Its “head” turns into the shape of a spade, but is also covered in a quilt-like smattering of orange triangles. A small yellow circle (a personal sun?) sits, pierced with a safety pin, in the canvas’ top left corner.\u003c/p>\n\u003cp>That pin is a nod to a punk aesthetic (and cloth diapers), but it also calls to mind the brief period in 2016 when people wore safety pins to signal their status as allies. \u003ci>Light Falls Fast\u003c/i> feels, tonally, far from the early days of the Trump presidency, but the sense of freshness and relief it captures is a direct result of both the darkness of the past four years and the more recent horror of the pandemic.\u003c/p>\n\u003cp>\u003ci>Second Shift\u003c/i>, another large work on canvas, adopts the grid of quilting, but disrupts its own symmetry with irregular black bars. Its title, too, holds larger meaning: a second shift, usually the hours between 4 or 5pm and 1am, is the purview of the working class and the overworked. Being awake at first light, Guerrero-Maciá reminds, is not always a romantic choice. \u003c/p>\n\u003cfigure id=\"attachment_13899925\" class=\"wp-caption aligncenter\" style=\"max-width: 902px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web.jpg\" alt=\"\" width=\"902\" height=\"779\" class=\"size-full wp-image-13899925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web.jpg 902w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web-800x691.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web-160x138.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/Closer-to-the-Sun-no_-5_web-768x663.jpg 768w\" sizes=\"(max-width: 902px) 100vw, 902px\">\u003cfigcaption class=\"wp-caption-text\">Diana Guerrero-Maciá, ‘Closer to the Sun no.5,’ 2021; Unique silkscreen with wool, dyed canvas and cotton on paper. \u003ccite>(Traywick Contemporary)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yet, the beauty of sunrises and sunsets—the colors those moments produce, the sense of awe they can engender—suffuse \u003ci>Light Falls Fast\u003c/i>. The show’s parting work is gleefully optimistic, a collage on screenprinted paper that automatically triggers a smile because it is, itself, smiling, with daisy eyes and a crooked, ribbon-like grin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Light Falls Fast’ is on view at Traywick Contemporary (895 Colusa Ave., Berkeley) through July 24. \u003ca href=\"http://www.traywick.com/2021/guerrero-macia/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Embracing a Painful History, the World's Only Ohlone Restaurant Finds Unlikely New Home",
"headTitle": "Embracing a Painful History, the World’s Only Ohlone Restaurant Finds Unlikely New Home | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]W[/dropcap]hen \u003ca href=\"https://www.makamham.com/cafeohlone\">Cafe Ohlone\u003c/a> shut its doors last summer, its owners promised they would be back before long. Now, a year later, the world’s only Ohlone restaurant is gearing up for a triumphant return: Owners Vincent Medina and Louis Trevino \u003ca href=\"https://www.sfchronicle.com/food/article/Groundbreaking-food-pop-up-Cafe-Ohlone-s-16239430.php\">announced earlier this month\u003c/a> that the restaurant will reopen in Berkeley this November\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The new, larger incarnation of the restaurant will be located in the outdoor courtyard of UC Berkeley’s \u003c/span>\u003ca href=\"https://hearstmuseum.berkeley.edu/\">\u003cspan style=\"font-weight: 400\">Hearst Museum of Anthropology\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It will continue to serve the pre-colonial dishes the original Cafe Ohlone was known for—the kind you’d be hard-pressed to find anywhere else in the Bay Area, like venison meatballs, chia seed bread and cold, luxuriously silky acorn soup. What will be new, however, is the introduction of dishes that evoke more recent periods in Ohlone history. And, perhaps most significantly, Medina and Trevino hope the courtyard restaurant will usher in a new era of cooperation with an institution that has, historically, inflicted great pain on the Ohlone people—including \u003c/span>\u003ca href=\"https://www.sfchronicle.com/politics/article/California-bill-seeks-to-give-tribes-more-15759223.php\">\u003cspan style=\"font-weight: 400\">thousands of ancestral remains and sacred objects\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that the Hearst Museum has not yet returned to the Ohlone people.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a very complex and not necessarily positive history, up until recently, with the Hearst,” Medina says. “They want to do the right thing, but they need to know \u003cem>how\u003c/em> to do the right thing.”\u003c/span>\u003c/p>\n\u003ch2>A Painful History\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plan to bring Cafe Ohlone to the Hearst came about fairly quickly. \u003ca href=\"https://sf.eater.com/2020/7/1/21309438/cafe-ohlone-closed-berkeley-takeout-new-location\">The restaurant had been on indefinite hiatus\u003c/a> when University Press Books, whose back patio it occupied, closed—a casualty of COVID-related financial pressures. Left without a home, the \u003ca href=\"https://www.nytimes.com/2019/08/12/dining/cafe-ohlone-review-berkeley.html\">nationally acclaimed\u003c/a> restaurant was forced to end its two-year run of perennially sold-out ticketed dinners, transitioning instead to a monthly \u003ca href=\"https://sf.eater.com/2020/10/28/21535007/cafe-ohlone-takeout-box-meal-kit\">meal kit takeout program\u003c/a> that it has run for the past several months out of a commissary kitchen in Old Oakland. As Medina and Trevino looked for a new permanent home for the restaurant, they initially concentrated their search in the San Lorenzo area, where many of the East Bay Ohlones live. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899538\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CafeOhlone_box-scaled.jpg\" alt=\"One of Cafe Ohlone's meal kits, packaged in a handmade wooden box, with fresh flowers and tubs of ingredients visible.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of Cafe Ohlone’s meal kits, packaged in a handmade wooden box. \u003ccite>(Cafe Ohlone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then, Kent Lightfoot, an anthropology professor at UC Berkeley, suggested the Hearst as a possible destination for the restaurant—a possibility that, as Medina explains, felt extremely fraught. Alfred Kroeber, the museum’s \u003ca href=\"https://hearstmuseum.berkeley.edu/un-naming-kroeber-hall-a-message-from-the-directors/\">longtime director from 1908 to 1946\u003c/a> (back when it was called the University of California Museum of Anthropology), had a direct hand in causing the Ohlones to lose federal recognition when his 1925 \u003ci>Handbook of the Indians of California \u003c/i>declared them to be “culturally extinct.” Phoebe Hearst, the museum’s current namesake, lived in a mansion that she built on Ohlone land in the Amador Valley, near Pleasanton—right on the other side of the river where Medina’s great-grandparents’ generation lived in one-room shacks. “The Hearst family got richer and richer as our family was disenfranchised,” Medina says.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps most painfully, once the Ohlones lost their federal recognition, the Hearst Museum went onto their land and looted the \u003ca href=\"https://www.kqed.org/news/11704679/there-were-once-more-than-425-shellmounds-in-the-bay-area-where-did-they-go\">shellmounds\u003c/a>. “They went in and removed our ancestors from their cemeteries; they removed our cultural objects,” he says. “They just took as much as they could without any care about the sacred.” Medina says he still vividly remembers how during the mid-’90s, when he was seven or eight years old, an Ohlone elder told him about how those remains were being kept in pink containers under the tennis courts at UC Berkeley: “It’s always stuck with me, the anger that was there in her voice.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Vincent Medina\"]“They want to do the right thing, but they need to know \u003cem>how\u003c/em> to do the right thing.”[/pullquote]But Medina also notes that in more recent years, since Cafe Ohlone opened its original location near campus, the Hearst has said all the right things about wanting to repatriate those remains and sacred objects, and to promote Ohlone visibility. The hope, he says, is that working closely with the Hearst will help speed up that process. “If we can be there to encourage greater respect of Ohlone people, then we’re going to do that,” Medina says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='news_11788912,news_11698712']In fact, Trevino and Medina felt there would be something very beautiful about hosting meals right outside the space where so many of their people’s relics are located—about bringing Cafe Ohlone’s own modern-day Ohlone baskets and mortars and pestles into that courtyard to take their place among those older objects.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Initially, when Medina and Trevino thought about the post-pandemic future of the restaurant, they’d imagined it as a community center of sorts, where they’d be able to host their language and other cultural classes, and where Ohlone people across generations would be able to gather on a regular basis. They’d still like to create a separate place for that in the San Lorenzo area sometime in the future, but the restaurant will be a cultural center in its own way. At the university, Ohlone visitors will be able to access the actual archives where their language is documented. They’ll be able to see, in person, the baskets woven by their ancestors, which they’ve previously only seen in photos.\u003c/span>\u003c/p>\n\u003ch2>Ohlone-izing the Menu\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for the meals themselves, much will remain the same: They’ll still be pre-ticketed prix fixe affairs, held just once a week when they start in November. One thing that will be new, however, is a deeper exploration of foods that don’t fit as neatly into the general public’s understanding of “traditional” native cuisines—dishes and ingredients that aren’t “pre-contact,” but are no less authentically Ohlone. “Throughout different stages of colonization and missionization,” Medina explains, “there were ingredients that were introduced here by either the Spanish during the mission times or by Mexican folks, or later by Americans, that were embraced by our family here and ‘Ohlone-ized.’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The pandemic gave Medina and Trevino time to really explore these more recent additions to the Ohlone table. In their May takeout box, they included venison chile colorado, a dish that combines venison—a traditional Ohlone ingredient—with spices and cooking techniques that developed in Mexico. It’s a dish Medina’s great-grandparents might have prepared on the rancheria. Cafe Ohlone customers ate the stew with chia flour tortillas and acorn bread.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“What we want people to know is that Ohlone folks have been there every step of the way,” Medina says. “And sometimes that means we embrace an ingredient that’s not native, but there’s this consistent way of doing it on our own terms.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899539\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CafeOhlone_salad-scaled.jpg\" alt=\"An Ohlone salad in a cardboard takeout box, with bright orange edible flowers and locally gathered greens and nuts.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Ohlone salad, made with locally gathered ingredients. \u003ccite>(Cafe Ohlone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout the pandemic, Cafe Ohlone has erred on the side of caution, citing the Ohlone people’s \u003c/span>\u003ca href=\"https://sf.eater.com/2020/4/14/21219066/cafe-ohlone-berkeley-closed-coronavirus\">\u003cspan style=\"font-weight: 400\">long history of having infectious diseases weaponized against them\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, particularly in the Spanish missions. And even now, as California opens up and vaccination rates creep upward, Medina says the restaurant will continue to take a conservative approach. Instead of having customers all sit together at one long communal table, they’ll be spread out on the museum’s large garden terrace, where Medina and Trevino will set up a mobile kitchen. If all goes according to plan, it will be a lovely setting for a meal, full of lush greenery—native plants arranged to create natural buffers between the tables, allowing for socially distanced dining.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899542\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CafeOhlone_fish-scaled.jpg\" alt=\"Pan-fried halibut with a hazelnut flour curst and a colorful gooseberry salsa\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-scaled.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-1920x2400.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Pan-fried local halibut with a California hazelnut crust and a summertime gooseberry and tomato salsa. \u003ccite>(Cafe Ohlone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the meantime, while the new restaurant space is built out, Cafe Ohlone will continue its monthly “Sunday Supper” meal kit program, with boxes currently \u003c/span>\u003ca href=\"https://www.makamham.com/reserve\">\u003cspan style=\"font-weight: 400\">available to be reserved for July 18 and August 8\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While COVID may have put the restaurant on ice for more than a year, Medina says he’s grateful for the time he and Trevino were able to devote to uplifting other aspects of Ohlone culture, especially within the community itself. For instance, they recently marked the 58th consecutive week of holding language classes via Zoom, focusing on both the Chochenyo and Rumsen Ohlone languages, spoken by the East Bay and Monterey/Carmel area Ohlones, respectively. Participants range from a 90-year-old auntie to literal babies—one soon-to-be mother attended the classes all throughout her pregnancy, and then she Zoomed in from the maternity ward after giving birth.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“She wanted the baby’s first language to be Chochenyo,” Medina says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Near the start of the pandemic, when things were at their bleakest, Medina and Trevino shared \u003c/span>\u003ca href=\"https://www.instagram.com/p/B-OE0bDBasu/?utm_source=ig_embed&ig_rid=d5617e27-1e98-41b5-b301-c612d4d9d00a\">\u003cspan style=\"font-weight: 400\">an oration that they had composed in Chochenyo, in the classic Ohlone oratory style\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, as an exhortation to their community to stay home for the time being: “Now we must stay apart. / So that our elders are safe / So that our young ones are safe / So that those who are vulnerable are safe, too.” But “makkin rootesin hemmen rocket,” the oration also promised: “We will be together again soon.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, as the restaurant gears up for its reopening, Medina says, “This is us making good on our word.” \u003c/span>\u003c/p>\n\n",
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"excerpt": "Cafe Ohlone will reopen at UC Berkeley's Hearst Museum in November.",
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"description": "Cafe Ohlone will reopen at UC Berkeley's Hearst Museum in November.",
"title": "Embracing a Painful History, the World's Only Ohlone Restaurant Finds Unlikely New Home | KQED",
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"headline": "Embracing a Painful History, the World's Only Ohlone Restaurant Finds Unlikely New Home",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">W\u003c/span>\u003c/p>\u003cp>hen \u003ca href=\"https://www.makamham.com/cafeohlone\">Cafe Ohlone\u003c/a> shut its doors last summer, its owners promised they would be back before long. Now, a year later, the world’s only Ohlone restaurant is gearing up for a triumphant return: Owners Vincent Medina and Louis Trevino \u003ca href=\"https://www.sfchronicle.com/food/article/Groundbreaking-food-pop-up-Cafe-Ohlone-s-16239430.php\">announced earlier this month\u003c/a> that the restaurant will reopen in Berkeley this November\u003c/span>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The new, larger incarnation of the restaurant will be located in the outdoor courtyard of UC Berkeley’s \u003c/span>\u003ca href=\"https://hearstmuseum.berkeley.edu/\">\u003cspan style=\"font-weight: 400\">Hearst Museum of Anthropology\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. It will continue to serve the pre-colonial dishes the original Cafe Ohlone was known for—the kind you’d be hard-pressed to find anywhere else in the Bay Area, like venison meatballs, chia seed bread and cold, luxuriously silky acorn soup. What will be new, however, is the introduction of dishes that evoke more recent periods in Ohlone history. And, perhaps most significantly, Medina and Trevino hope the courtyard restaurant will usher in a new era of cooperation with an institution that has, historically, inflicted great pain on the Ohlone people—including \u003c/span>\u003ca href=\"https://www.sfchronicle.com/politics/article/California-bill-seeks-to-give-tribes-more-15759223.php\">\u003cspan style=\"font-weight: 400\">thousands of ancestral remains and sacred objects\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> that the Hearst Museum has not yet returned to the Ohlone people.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We have a very complex and not necessarily positive history, up until recently, with the Hearst,” Medina says. “They want to do the right thing, but they need to know \u003cem>how\u003c/em> to do the right thing.”\u003c/span>\u003c/p>\n\u003ch2>A Painful History\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The plan to bring Cafe Ohlone to the Hearst came about fairly quickly. \u003ca href=\"https://sf.eater.com/2020/7/1/21309438/cafe-ohlone-closed-berkeley-takeout-new-location\">The restaurant had been on indefinite hiatus\u003c/a> when University Press Books, whose back patio it occupied, closed—a casualty of COVID-related financial pressures. Left without a home, the \u003ca href=\"https://www.nytimes.com/2019/08/12/dining/cafe-ohlone-review-berkeley.html\">nationally acclaimed\u003c/a> restaurant was forced to end its two-year run of perennially sold-out ticketed dinners, transitioning instead to a monthly \u003ca href=\"https://sf.eater.com/2020/10/28/21535007/cafe-ohlone-takeout-box-meal-kit\">meal kit takeout program\u003c/a> that it has run for the past several months out of a commissary kitchen in Old Oakland. As Medina and Trevino looked for a new permanent home for the restaurant, they initially concentrated their search in the San Lorenzo area, where many of the East Bay Ohlones live. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899538\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899538\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CafeOhlone_box-scaled.jpg\" alt=\"One of Cafe Ohlone's meal kits, packaged in a handmade wooden box, with fresh flowers and tubs of ingredients visible.\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_box-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">One of Cafe Ohlone’s meal kits, packaged in a handmade wooden box. \u003ccite>(Cafe Ohlone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Then, Kent Lightfoot, an anthropology professor at UC Berkeley, suggested the Hearst as a possible destination for the restaurant—a possibility that, as Medina explains, felt extremely fraught. Alfred Kroeber, the museum’s \u003ca href=\"https://hearstmuseum.berkeley.edu/un-naming-kroeber-hall-a-message-from-the-directors/\">longtime director from 1908 to 1946\u003c/a> (back when it was called the University of California Museum of Anthropology), had a direct hand in causing the Ohlones to lose federal recognition when his 1925 \u003ci>Handbook of the Indians of California \u003c/i>declared them to be “culturally extinct.” Phoebe Hearst, the museum’s current namesake, lived in a mansion that she built on Ohlone land in the Amador Valley, near Pleasanton—right on the other side of the river where Medina’s great-grandparents’ generation lived in one-room shacks. “The Hearst family got richer and richer as our family was disenfranchised,” Medina says.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Perhaps most painfully, once the Ohlones lost their federal recognition, the Hearst Museum went onto their land and looted the \u003ca href=\"https://www.kqed.org/news/11704679/there-were-once-more-than-425-shellmounds-in-the-bay-area-where-did-they-go\">shellmounds\u003c/a>. “They went in and removed our ancestors from their cemeteries; they removed our cultural objects,” he says. “They just took as much as they could without any care about the sacred.” Medina says he still vividly remembers how during the mid-’90s, when he was seven or eight years old, an Ohlone elder told him about how those remains were being kept in pink containers under the tennis courts at UC Berkeley: “It’s always stuck with me, the anger that was there in her voice.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Medina also notes that in more recent years, since Cafe Ohlone opened its original location near campus, the Hearst has said all the right things about wanting to repatriate those remains and sacred objects, and to promote Ohlone visibility. The hope, he says, is that working closely with the Hearst will help speed up that process. “If we can be there to encourage greater respect of Ohlone people, then we’re going to do that,” Medina says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In fact, Trevino and Medina felt there would be something very beautiful about hosting meals right outside the space where so many of their people’s relics are located—about bringing Cafe Ohlone’s own modern-day Ohlone baskets and mortars and pestles into that courtyard to take their place among those older objects.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Initially, when Medina and Trevino thought about the post-pandemic future of the restaurant, they’d imagined it as a community center of sorts, where they’d be able to host their language and other cultural classes, and where Ohlone people across generations would be able to gather on a regular basis. They’d still like to create a separate place for that in the San Lorenzo area sometime in the future, but the restaurant will be a cultural center in its own way. At the university, Ohlone visitors will be able to access the actual archives where their language is documented. They’ll be able to see, in person, the baskets woven by their ancestors, which they’ve previously only seen in photos.\u003c/span>\u003c/p>\n\u003ch2>Ohlone-izing the Menu\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">As for the meals themselves, much will remain the same: They’ll still be pre-ticketed prix fixe affairs, held just once a week when they start in November. One thing that will be new, however, is a deeper exploration of foods that don’t fit as neatly into the general public’s understanding of “traditional” native cuisines—dishes and ingredients that aren’t “pre-contact,” but are no less authentically Ohlone. “Throughout different stages of colonization and missionization,” Medina explains, “there were ingredients that were introduced here by either the Spanish during the mission times or by Mexican folks, or later by Americans, that were embraced by our family here and ‘Ohlone-ized.’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The pandemic gave Medina and Trevino time to really explore these more recent additions to the Ohlone table. In their May takeout box, they included venison chile colorado, a dish that combines venison—a traditional Ohlone ingredient—with spices and cooking techniques that developed in Mexico. It’s a dish Medina’s great-grandparents might have prepared on the rancheria. Cafe Ohlone customers ate the stew with chia flour tortillas and acorn bread.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“What we want people to know is that Ohlone folks have been there every step of the way,” Medina says. “And sometimes that means we embrace an ingredient that’s not native, but there’s this consistent way of doing it on our own terms.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899539\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899539\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CafeOhlone_salad-scaled.jpg\" alt=\"An Ohlone salad in a cardboard takeout box, with bright orange edible flowers and locally gathered greens and nuts.\" width=\"2560\" height=\"1920\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_salad-1920x1440.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">An Ohlone salad, made with locally gathered ingredients. \u003ccite>(Cafe Ohlone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Throughout the pandemic, Cafe Ohlone has erred on the side of caution, citing the Ohlone people’s \u003c/span>\u003ca href=\"https://sf.eater.com/2020/4/14/21219066/cafe-ohlone-berkeley-closed-coronavirus\">\u003cspan style=\"font-weight: 400\">long history of having infectious diseases weaponized against them\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, particularly in the Spanish missions. And even now, as California opens up and vaccination rates creep upward, Medina says the restaurant will continue to take a conservative approach. Instead of having customers all sit together at one long communal table, they’ll be spread out on the museum’s large garden terrace, where Medina and Trevino will set up a mobile kitchen. If all goes according to plan, it will be a lovely setting for a meal, full of lush greenery—native plants arranged to create natural buffers between the tables, allowing for socially distanced dining.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13899542\" class=\"wp-caption alignright\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13899542\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/CafeOhlone_fish-scaled.jpg\" alt=\"Pan-fried halibut with a hazelnut flour curst and a colorful gooseberry salsa\" width=\"2048\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-scaled.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/CafeOhlone_fish-1920x2400.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">Pan-fried local halibut with a California hazelnut crust and a summertime gooseberry and tomato salsa. \u003ccite>(Cafe Ohlone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the meantime, while the new restaurant space is built out, Cafe Ohlone will continue its monthly “Sunday Supper” meal kit program, with boxes currently \u003c/span>\u003ca href=\"https://www.makamham.com/reserve\">\u003cspan style=\"font-weight: 400\">available to be reserved for July 18 and August 8\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While COVID may have put the restaurant on ice for more than a year, Medina says he’s grateful for the time he and Trevino were able to devote to uplifting other aspects of Ohlone culture, especially within the community itself. For instance, they recently marked the 58th consecutive week of holding language classes via Zoom, focusing on both the Chochenyo and Rumsen Ohlone languages, spoken by the East Bay and Monterey/Carmel area Ohlones, respectively. Participants range from a 90-year-old auntie to literal babies—one soon-to-be mother attended the classes all throughout her pregnancy, and then she Zoomed in from the maternity ward after giving birth.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“She wanted the baby’s first language to be Chochenyo,” Medina says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Near the start of the pandemic, when things were at their bleakest, Medina and Trevino shared \u003c/span>\u003ca href=\"https://www.instagram.com/p/B-OE0bDBasu/?utm_source=ig_embed&ig_rid=d5617e27-1e98-41b5-b301-c612d4d9d00a\">\u003cspan style=\"font-weight: 400\">an oration that they had composed in Chochenyo, in the classic Ohlone oratory style\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, as an exhortation to their community to stay home for the time being: “Now we must stay apart. / So that our elders are safe / So that our young ones are safe / So that those who are vulnerable are safe, too.” But “makkin rootesin hemmen rocket,” the oration also promised: “We will be together again soon.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, as the restaurant gears up for its reopening, Medina says, “This is us making good on our word.” \u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Roll With Us: Bending Corners and Poppin' Wheelies on Billboards",
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"content": "\u003cp> \u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13898688\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13898688 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/06/photo-4-800x1200.jpeg\" alt=\"Omar "Meez" Jones and Pershanté Hill standing on 7th Street in West Oakland, talking to each other in front of a billboard that features Jones' image.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/photo-4-800x1200.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/photo-4-1020x1530.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/photo-4-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/photo-4-768x1152.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/photo-4-1024x1536.jpeg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/photo-4-1365x2048.jpeg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/photo-4-1920x2880.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/06/photo-4-scaled.jpeg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Omar “Meez” Jones and Pershanté Hill standing on 7th Street in West Oakland, talking to each other in front of a billboard that features Jones’ image. \u003ccite>( Dev P. / @Creatvedev)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC9664600248\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/iamomeez/\" target=\"_blank\" rel=\"noopener noreferrer\">Berkeley’s Omar “Meez” Jones\u003c/a> is a biker, photographer, graphic designer and entrepreneur. One of his top talents is his ability to take his lifestyle and make a living off of it.\u003c/p>\n\u003cp>Earlier this year, a series of Apple billboards promoting their “Hometown” campaign sprung up all around the Bay Area, featuring the silhouetted images of two bikers hitting wheelies. Those bikers are Jones and his good friend from North Oakland, \u003ca href=\"https://www.instagram.com/almighty__gioo/\" target=\"_blank\" rel=\"noopener noreferrer\">Almighty Gio.\u003c/a>\u003c/p>\n\u003cp>https://www.instagram.com/p/CL94_HRDH78/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp>What I saw as a major tech company leveraging culture to earn cool points, Jones sees as a platform benefiting the culture he represents.\u003c/p>\n\u003cp>While there’s room for both to be true, Jones points out something that I overlooked: we breed hustlers in this region, so he’ll figure out a way to make it work in his favor.\u003c/p>\n\u003cp>On top of that, Jones is working to expand opportunities to a younger generation of East Bay bikers, setting them up with brands and employment opportunities.\u003c/p>\n\u003cp>Tune in for the second entry on the intersection of wheels, community, and culture as Jones and I discuss biking, billboards, and being a community “big bro.”\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Omar Jones.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: So one of the bike groups you ride with and photograph is ABC– who are they?\u003c/em>\u003c/p>\n\u003cp>Omar: So ABC is a bike club in the Bay Area and every Wednesday we meet at King Kog in Oakland. And it just grew, 10 people at first, riding through COVID… Now we have like 150 to 200 riders, 250 riders. It pretty much grew into a big community.\u003c/p>\n\u003cp>\u003cem>Pen: What’s it like riding with that pack?\u003c/em>\u003c/p>\n\u003cp>Omar: It’s cool. A lot of people that we’re riding with, we know how to ride with each other. So that’s cool. But, the newer [riders], it’s kind of harder because they don’t really know how we ride. It’s not like they get in a way, but you gotta be cautious of your area because sometimes people crash. I mean, that’s going to happen with a big crowd of people moving through the streets. But we usually keep it very safe and super fun. We go like 10 miles every time with like 200 people.\u003c/p>\n\u003cp>\u003cem>Pen: There’s benefits to riding in groups, it’s fun being in that big pack of people and shutting down traffic, but it’s also dangerous, one slip up, people fall like dominoes.\u003c/em>\u003c/p>\n\u003cp>Omar: If somebody does crash, the whole pack stops and we just make sure everybody is good. That’s what’s cool, it’s like a real community, it’s not like we just keep going and leave people. Nah, everybody stops. We got people in our club that do the bike stuff and just to fix it real quick and just keep going.\u003c/p>\n\u003cp>\u003cem>Pen: ABC, what does it stand for?\u003c/em>\u003c/p>\n\u003cp>Omar: Another Bike Club, and the slogan is “Fun Is Serious Business.”\u003c/p>\n\u003cp>\u003cem>Pen: That’s just one of the collectives that you’re biking with, what’s another group?\u003c/em>\u003c/p>\n\u003cp>Omar: It’s called GoersGo. It’s a bunch of kids that I’m helping. That’s been a huge impact because it’s kids ages 12 to 18. I’ve just been kind of like impacting their lives.\u003c/p>\n\u003cp>Omar: For them to be able to tag along with me and just see how I move… I didn’t have a person like me at that age, so I know it’s an important time for them… I tell them all the time too, ‘I’m not going to always be here. I’m not going to always be able to be around you… That’s why I built this for you, you guys gotta support each other as a team.’\u003c/p>\n\u003cp>Omar: Whatever money comes to them is 100% theirs. I just have the resources to be able to put them in those positions, like having a photographer friend that happened to be doing an Apple campaign.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to be a mentor?\u003c/em>\u003c/p>\n\u003cp>Omar: I’ve never been called a mentor. It’s like a Big Brother thing. I don’t see it like anything other than that…\u003c/p>\n\u003cp>\u003cem>Pen: So you’re deeply immersed in the culture of wheels and biking… And i’m wondering what are some of the other positive effects of biking culture?\u003c/em>\u003c/p>\n\u003cp>Omar: It’s just amazing to see all these kids riding these bikes, it’s good to see them off their phones, outside enjoying the weather because if they didn’t have the bikes, the streets is going to eat them up alive. I can’t even lie about that. I grew up around all that… This summer is gonna be why the murder rate is not as big, because kids are going to be out on their bikes, that’s how I feel…\u003c/p>\n\u003cp>\u003cem>Pen: Woah, you look at biking as a deterrent to violence?\u003c/em>\u003c/p>\n\u003cp>Omar: It’s worked in the past, ya know. I’ve seen Scraper Bikes, what they’ve done. It keeps me out of the street. And the kids around me, it keeps them outta the streets, that’s basically where I can see it going.\u003c/p>\n\u003cp>\u003cem>Pen: Alright, so the first time you saw the billboard with you and Gio hittin’ wheelies, how’d ya feel?\u003c/em>\u003c/p>\n\u003cp>Omar: The first time I saw it, I was like, damn, this is like incredible. Like to have the brand partner, that’s like, I wouldn’t say legendary, but people give me that status.\u003c/p>\n\u003cp>https://www.instagram.com/p/CL9X-t9sCEQ/?utm_source=ig_web_copy_link\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Pen: Is there a negative side to being paired with Apple? Like I’ve heard people be like ‘oh, you might compromise culture’, is there anything negative?\u003c/em>\u003c/p>\n\u003cp>Omar: I’m an opportunity person, not an opportunist… I understand what I’m doing. I understand my purpose. I understand my vision. I understand who I need to align myself with. I understand all that so… Whatever people will say, that’s their opinion. But for me as a businessperson, that’s good business.\u003c/p>\n\u003cp>Omar: I mean, our culture is [always] going to be compromised in some way. Like, we don’t necessarily control everything. We don’t necessarily have like an ESPN that’s owned by Black people.\u003c/p>\n\u003cp>\u003cem>Pen: I’ve, uh, related to that, but a lil different, I’ve been in conversations lately about how many images there are mounted of Black people in Oakland and how it seems like there’s more images of Black folks on buildings in Oakland as there’s an exodus of Black folks out of Oakland. And I’m wondering how you feel about that?\u003c/em>\u003c/p>\n\u003cp>Omar: I’ve grown up seeing the gentrification like. I wish I knew the market value of everything before everything kind of hit. But I also don’t think it’s too late either, because at the same time, I did get an Apple opportunity. So it’s like OK they’re in our backyard and now, they’re knocking on our door. So it may be a chance for us to have those opportunities… We’re the land of the hustlers, so we’re going to survive either way!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What I saw as a major tech company leveraging culture to earn cool points, Jones sees as a platform benefiting the culture he represents.\u003c/p>\n\u003cp>While there’s room for both to be true, Jones points out something that I overlooked: we breed hustlers in this region, so he’ll figure out a way to make it work in his favor.\u003c/p>\n\u003cp>On top of that, Jones is working to expand opportunities to a younger generation of East Bay bikers, setting them up with brands and employment opportunities.\u003c/p>\n\u003cp>Tune in for the second entry on the intersection of wheels, community, and culture as Jones and I discuss biking, billboards, and being a community “big bro.”\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Omar Jones.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: So one of the bike groups you ride with and photograph is ABC– who are they?\u003c/em>\u003c/p>\n\u003cp>Omar: So ABC is a bike club in the Bay Area and every Wednesday we meet at King Kog in Oakland. And it just grew, 10 people at first, riding through COVID… Now we have like 150 to 200 riders, 250 riders. It pretty much grew into a big community.\u003c/p>\n\u003cp>\u003cem>Pen: What’s it like riding with that pack?\u003c/em>\u003c/p>\n\u003cp>Omar: It’s cool. A lot of people that we’re riding with, we know how to ride with each other. So that’s cool. But, the newer [riders], it’s kind of harder because they don’t really know how we ride. It’s not like they get in a way, but you gotta be cautious of your area because sometimes people crash. I mean, that’s going to happen with a big crowd of people moving through the streets. But we usually keep it very safe and super fun. We go like 10 miles every time with like 200 people.\u003c/p>\n\u003cp>\u003cem>Pen: There’s benefits to riding in groups, it’s fun being in that big pack of people and shutting down traffic, but it’s also dangerous, one slip up, people fall like dominoes.\u003c/em>\u003c/p>\n\u003cp>Omar: If somebody does crash, the whole pack stops and we just make sure everybody is good. That’s what’s cool, it’s like a real community, it’s not like we just keep going and leave people. Nah, everybody stops. We got people in our club that do the bike stuff and just to fix it real quick and just keep going.\u003c/p>\n\u003cp>\u003cem>Pen: ABC, what does it stand for?\u003c/em>\u003c/p>\n\u003cp>Omar: Another Bike Club, and the slogan is “Fun Is Serious Business.”\u003c/p>\n\u003cp>\u003cem>Pen: That’s just one of the collectives that you’re biking with, what’s another group?\u003c/em>\u003c/p>\n\u003cp>Omar: It’s called GoersGo. It’s a bunch of kids that I’m helping. That’s been a huge impact because it’s kids ages 12 to 18. I’ve just been kind of like impacting their lives.\u003c/p>\n\u003cp>Omar: For them to be able to tag along with me and just see how I move… I didn’t have a person like me at that age, so I know it’s an important time for them… I tell them all the time too, ‘I’m not going to always be here. I’m not going to always be able to be around you… That’s why I built this for you, you guys gotta support each other as a team.’\u003c/p>\n\u003cp>Omar: Whatever money comes to them is 100% theirs. I just have the resources to be able to put them in those positions, like having a photographer friend that happened to be doing an Apple campaign.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to be a mentor?\u003c/em>\u003c/p>\n\u003cp>Omar: I’ve never been called a mentor. It’s like a Big Brother thing. I don’t see it like anything other than that…\u003c/p>\n\u003cp>\u003cem>Pen: So you’re deeply immersed in the culture of wheels and biking… And i’m wondering what are some of the other positive effects of biking culture?\u003c/em>\u003c/p>\n\u003cp>Omar: It’s just amazing to see all these kids riding these bikes, it’s good to see them off their phones, outside enjoying the weather because if they didn’t have the bikes, the streets is going to eat them up alive. I can’t even lie about that. I grew up around all that… This summer is gonna be why the murder rate is not as big, because kids are going to be out on their bikes, that’s how I feel…\u003c/p>\n\u003cp>\u003cem>Pen: Woah, you look at biking as a deterrent to violence?\u003c/em>\u003c/p>\n\u003cp>Omar: It’s worked in the past, ya know. I’ve seen Scraper Bikes, what they’ve done. It keeps me out of the street. And the kids around me, it keeps them outta the streets, that’s basically where I can see it going.\u003c/p>\n\u003cp>\u003cem>Pen: Alright, so the first time you saw the billboard with you and Gio hittin’ wheelies, how’d ya feel?\u003c/em>\u003c/p>\n\u003cp>Omar: The first time I saw it, I was like, damn, this is like incredible. Like to have the brand partner, that’s like, I wouldn’t say legendary, but people give me that status.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp> \u003c/p>\n\u003cp>\u003cem>Pen: Is there a negative side to being paired with Apple? Like I’ve heard people be like ‘oh, you might compromise culture’, is there anything negative?\u003c/em>\u003c/p>\n\u003cp>Omar: I’m an opportunity person, not an opportunist… I understand what I’m doing. I understand my purpose. I understand my vision. I understand who I need to align myself with. I understand all that so… Whatever people will say, that’s their opinion. But for me as a businessperson, that’s good business.\u003c/p>\n\u003cp>Omar: I mean, our culture is [always] going to be compromised in some way. Like, we don’t necessarily control everything. We don’t necessarily have like an ESPN that’s owned by Black people.\u003c/p>\n\u003cp>\u003cem>Pen: I’ve, uh, related to that, but a lil different, I’ve been in conversations lately about how many images there are mounted of Black people in Oakland and how it seems like there’s more images of Black folks on buildings in Oakland as there’s an exodus of Black folks out of Oakland. And I’m wondering how you feel about that?\u003c/em>\u003c/p>\n\u003cp>Omar: I’ve grown up seeing the gentrification like. I wish I knew the market value of everything before everything kind of hit. But I also don’t think it’s too late either, because at the same time, I did get an Apple opportunity. So it’s like OK they’re in our backyard and now, they’re knocking on our door. So it may be a chance for us to have those opportunities… We’re the land of the hustlers, so we’re going to survive either way!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Berkeley Pop-Up Writes Its Own Rulebook on Dumplings",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400;\">Alex Chin and Will \u003c/span>\u003cspan style=\"font-weight: 400;\">Thanapisitikul insist they didn’t set out to make a better version of any traditional dumpling. That would have been a little bit hubristic—an insult, perhaps, to generations of Asian grandmas who spent decades honing their craft. Instead, the Berkeley-based chefs imagined their new pop-up, \u003c/span>\u003ca href=\"https://www.instagram.com/parcelsproject/?hl=en\">\u003cspan style=\"font-weight: 400;\">Parcels Project\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, as a platform for Asian-American dumplings that were a little bit more modern and out of the box. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The results are very, very delicious. They make a soup dumpling that bursts with broth reminiscent of Taiwanese beef noodle soup. Another delicately braided steamed dumpling is infused with the flavors of Hainan chicken rice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“There are plenty of places that do really, really great dumplings,” Chin says. “We wanted to find something that navigated our story, our timeline of where \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">we \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">grew up and what we know very well.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13895877\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895877\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ParcelsProject_chefs-1020x1360.jpg\" alt=\"Will Thanapisitikul (left) and Alex Chin in the kitchen\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-scaled.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Will Thanapisitikul (left) and Alex Chin started Parcels Project as a pandemic side hustle. \u003ccite>(Parcels Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">So far it’s been a success: A little over a month after launching Parcels Project, with only a modest \u003c/span>\u003ca href=\"https://www.instagram.com/parcelsproject/?hl=en\">\u003cspan style=\"font-weight: 400;\">social media presence\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and without any real marketing, \u003c/span>\u003cspan style=\"font-weight: 400;\">Chin and \u003c/span>\u003cspan style=\"font-weight: 400;\">Thanapisitikul have already sold more than 3,000 frozen dumplings, often selling out entirely a day or two after their weekly \u003c/span>\u003ca href=\"https://www.parcelsproject.com/\">\u003cspan style=\"font-weight: 400;\">online ordering queue\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> opens up on Sundays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Like so many other food businesses launched in the past year, Parcels Project is something of a pandemic pivot, though both chefs were fortunate enough to land full-time gigs during lockdown: Chin at the \u003c/span>\u003ca href=\"https://www.kqed.org/bayareabites/135793/delivery-only-the-rise-of-restaurants-with-no-diners-as-apps-take-orders\">\u003cspan style=\"font-weight: 400;\">ghost kitchen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> startup Virtual Kitchen and \u003c/span>\u003cspan style=\"font-weight: 400;\">Thanapisitikul at Town Kitchen, an Oakland-based catering company with a focus on employing and training low-income youth. Both are stressful day jobs, and so the two chefs were looking for a passion project—“something of our own,” as Thanapisitikul puts it—that they could pour their creative energies into.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Thanapisitikul moved from Thailand to the Bay Area for college; Chin’s parents were immigrants from Taiwan and Hong Kong, respectively. When the two started talking about a business together, dumplings wound up being the common denominator and the ideal vehicle for the chefs to get creative with the flavors from their childhood. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13895876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-800x500.jpg\" alt=\"Close-up of an uncooked five-spice soup dumpling, which is shaped like a wonton.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-2048x1280.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-1920x1200.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The five-spice beef dumpling looks like a wonton and tastes like Taiwanese beef noodle soup. \u003ccite>(Parcels Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Take the five-spice beef soup “parcel”: The dumpling looks like a wonton, but is made using\u003c/span>\u003cspan style=\"font-weight: 400;\"> techniques typically associated with xiao long bao, or Shanghainese soup dumplings. The chefs incorporate a spice-infused aspic, or meat jelly, into the filling that melts into a soupy broth—similar to what you’d find in a bowl of Taiwanese beef noodle soup—when the dumplings are steamed. The first bite, when the hot soup bursts into your mouth, is pure nostalgic comfort for anyone who grew up with those flavors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Another of their steamed dumplings takes its flavor cues from Hainan chicken rice (or khao mun gai, as the Thai version of the poached chicken street food dish is called). For her dumpling-ified version, Thanapisitikul recreates the traditional flavors by sautéing ginger and scallions in chicken fat, then whipping that fat into the ground chicken filling.\u003c/span>\u003cspan style=\"font-weight: 400;\"> Yet another dumpling—maybe the most delicious of all—takes the savory flavors and crunchy water chestnuts you’d find in a classic \u003ca href=\"https://thewoksoflife.com/lions-head-meatballs/\">Lion’s Head meatball\u003c/a> and repackages them as an incredibly juicy potsticker. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">In many ways, the business is tailor-made for these pandemic times. With so many people cooped up at home—and, vaccinated or not, perhaps not quite ready to set foot in a physical restaurant dining room—Instagram-based pop-ups like Parcels Project have been a boon to food enthusiasts looking to liven up their usual takeout rotation. As the name suggests, the dumplings come bundled into tidy, paper-wrapped parcels, like a little care package—and would, in fact, make for a delightful pick-me-up kind of gift. At $10 for a pack of 15 dumplings, they also make for a relatively affordable treat. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CMr5ic8hWd1/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Looking ahead, \u003c/span>\u003cspan style=\"font-weight: 400;\">Chin and \u003c/span>\u003cspan style=\"font-weight: 400;\">Thanapisitikul say opening a full-fledged, standalone dumpling restaurant isn’t out of the question. But for now the chefs are just trying to ramp up production so that they can add a few other pickup locations around the Bay Area. Meanwhile, they’re working on a line of custom dipping sauces to complement each dumpling flavor—maybe a ginger-and-scallion soy sauce for the Hainan chicken, or something with chile crisps to add some kick to the beef soup dumplings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The chefs haven’t stopped tinkering with new flavors, either. They’re working on a mala fish dumpling spiked with Sichuan peppercorns that they might add to the menu, and a hoisin sauce–based one that’s inspired by Peking duck. Once you’ve opened your mind to the possibilities, it seems, there aren’t many dishes that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">can’t \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">be reimagined as a dumpling. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003ci>\u003cspan style=\"font-weight: 400;\">Parcels Project currently delivers to San Francisco, San Jose, and the East Bay on Saturdays; scheduled pickups are available in Berkeley, Wednesday through Friday, 5–9 p.m. \u003c/span>\u003c/i>\u003ca href=\"https://www.parcelsproject.com/\">\u003ci>\u003cspan style=\"font-weight: 400;\">Online ordering\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\"> for each week opens at noon on Sundays.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">Alex Chin and Will \u003c/span>\u003cspan style=\"font-weight: 400;\">Thanapisitikul insist they didn’t set out to make a better version of any traditional dumpling. That would have been a little bit hubristic—an insult, perhaps, to generations of Asian grandmas who spent decades honing their craft. Instead, the Berkeley-based chefs imagined their new pop-up, \u003c/span>\u003ca href=\"https://www.instagram.com/parcelsproject/?hl=en\">\u003cspan style=\"font-weight: 400;\">Parcels Project\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\">, as a platform for Asian-American dumplings that were a little bit more modern and out of the box. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The results are very, very delicious. They make a soup dumpling that bursts with broth reminiscent of Taiwanese beef noodle soup. Another delicately braided steamed dumpling is infused with the flavors of Hainan chicken rice.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">“There are plenty of places that do really, really great dumplings,” Chin says. “We wanted to find something that navigated our story, our timeline of where \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">we \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">grew up and what we know very well.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13895877\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13895877\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ParcelsProject_chefs-1020x1360.jpg\" alt=\"Will Thanapisitikul (left) and Alex Chin in the kitchen\" width=\"640\" height=\"853\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_chefs-scaled.jpg 1920w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Will Thanapisitikul (left) and Alex Chin started Parcels Project as a pandemic side hustle. \u003ccite>(Parcels Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">So far it’s been a success: A little over a month after launching Parcels Project, with only a modest \u003c/span>\u003ca href=\"https://www.instagram.com/parcelsproject/?hl=en\">\u003cspan style=\"font-weight: 400;\">social media presence\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> and without any real marketing, \u003c/span>\u003cspan style=\"font-weight: 400;\">Chin and \u003c/span>\u003cspan style=\"font-weight: 400;\">Thanapisitikul have already sold more than 3,000 frozen dumplings, often selling out entirely a day or two after their weekly \u003c/span>\u003ca href=\"https://www.parcelsproject.com/\">\u003cspan style=\"font-weight: 400;\">online ordering queue\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> opens up on Sundays. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Like so many other food businesses launched in the past year, Parcels Project is something of a pandemic pivot, though both chefs were fortunate enough to land full-time gigs during lockdown: Chin at the \u003c/span>\u003ca href=\"https://www.kqed.org/bayareabites/135793/delivery-only-the-rise-of-restaurants-with-no-diners-as-apps-take-orders\">\u003cspan style=\"font-weight: 400;\">ghost kitchen\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400;\"> startup Virtual Kitchen and \u003c/span>\u003cspan style=\"font-weight: 400;\">Thanapisitikul at Town Kitchen, an Oakland-based catering company with a focus on employing and training low-income youth. Both are stressful day jobs, and so the two chefs were looking for a passion project—“something of our own,” as Thanapisitikul puts it—that they could pour their creative energies into.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Thanapisitikul moved from Thailand to the Bay Area for college; Chin’s parents were immigrants from Taiwan and Hong Kong, respectively. When the two started talking about a business together, dumplings wound up being the common denominator and the ideal vehicle for the chefs to get creative with the flavors from their childhood. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13895876\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13895876\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-800x500.jpg\" alt=\"Close-up of an uncooked five-spice soup dumpling, which is shaped like a wonton.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-2048x1280.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/ParcelsProject_Soup-Dumpling-1920x1200.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The five-spice beef dumpling looks like a wonton and tastes like Taiwanese beef noodle soup. \u003ccite>(Parcels Project)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Take the five-spice beef soup “parcel”: The dumpling looks like a wonton, but is made using\u003c/span>\u003cspan style=\"font-weight: 400;\"> techniques typically associated with xiao long bao, or Shanghainese soup dumplings. The chefs incorporate a spice-infused aspic, or meat jelly, into the filling that melts into a soupy broth—similar to what you’d find in a bowl of Taiwanese beef noodle soup—when the dumplings are steamed. The first bite, when the hot soup bursts into your mouth, is pure nostalgic comfort for anyone who grew up with those flavors. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">Another of their steamed dumplings takes its flavor cues from Hainan chicken rice (or khao mun gai, as the Thai version of the poached chicken street food dish is called). For her dumpling-ified version, Thanapisitikul recreates the traditional flavors by sautéing ginger and scallions in chicken fat, then whipping that fat into the ground chicken filling.\u003c/span>\u003cspan style=\"font-weight: 400;\"> Yet another dumpling—maybe the most delicious of all—takes the savory flavors and crunchy water chestnuts you’d find in a classic \u003ca href=\"https://thewoksoflife.com/lions-head-meatballs/\">Lion’s Head meatball\u003c/a> and repackages them as an incredibly juicy potsticker. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">In many ways, the business is tailor-made for these pandemic times. With so many people cooped up at home—and, vaccinated or not, perhaps not quite ready to set foot in a physical restaurant dining room—Instagram-based pop-ups like Parcels Project have been a boon to food enthusiasts looking to liven up their usual takeout rotation. As the name suggests, the dumplings come bundled into tidy, paper-wrapped parcels, like a little care package—and would, in fact, make for a delightful pick-me-up kind of gift. At $10 for a pack of 15 dumplings, they also make for a relatively affordable treat. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400;\">Looking ahead, \u003c/span>\u003cspan style=\"font-weight: 400;\">Chin and \u003c/span>\u003cspan style=\"font-weight: 400;\">Thanapisitikul say opening a full-fledged, standalone dumpling restaurant isn’t out of the question. But for now the chefs are just trying to ramp up production so that they can add a few other pickup locations around the Bay Area. Meanwhile, they’re working on a line of custom dipping sauces to complement each dumpling flavor—maybe a ginger-and-scallion soy sauce for the Hainan chicken, or something with chile crisps to add some kick to the beef soup dumplings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400;\">The chefs haven’t stopped tinkering with new flavors, either. They’re working on a mala fish dumpling spiked with Sichuan peppercorns that they might add to the menu, and a hoisin sauce–based one that’s inspired by Peking duck. Once you’ve opened your mind to the possibilities, it seems, there aren’t many dishes that \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400;\">can’t \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400;\">be reimagined as a dumpling. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003ci>\u003cspan style=\"font-weight: 400;\">Parcels Project currently delivers to San Francisco, San Jose, and the East Bay on Saturdays; scheduled pickups are available in Berkeley, Wednesday through Friday, 5–9 p.m. \u003c/span>\u003c/i>\u003ca href=\"https://www.parcelsproject.com/\">\u003ci>\u003cspan style=\"font-weight: 400;\">Online ordering\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400;\"> for each week opens at noon on Sundays.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Berkeley Rep Builds a Theatrical Experience Through Sound With 'Place/Settings'",
"headTitle": "Berkeley Rep Builds a Theatrical Experience Through Sound With ‘Place/Settings’ | KQED",
"content": "\u003cp>Over the past year without live performances and theatre, venues throughout the Bay Area have been forced to pivot to creating \u003ca href=\"https://www.kqed.org/arts/13890054/livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained\" rel=\"noopener noreferrer\" target=\"_blank\">virtual programming\u003c/a> throughout the COVID-19 pandemic. And while streamed theatre can be a hit-or-miss, as Berkeley Rep artistic director Johanna Pfaelzer recently told \u003ca href=\"https://www.berkeleyside.com/2021/01/11/berkeley-rep-launches-place-settings-10-audio-stories-set-in-berkeley\">the Berkeleyside\u003c/a>, “sound can create an entire world.”\u003c/p>\n\u003cp>That’s the premise of \u003cem>Place/Settings\u003c/em>, a new series from Berkeley Rep and the latest example of a Bay Area theater company pivoting to digital offerings. Unlike many recent theatre productions, \u003cem>Place/Settings\u003c/em> isn’t a streamed recording of a play, but an audio-only, 10-episode podcast series that takes listeners to different key locations around Berkeley.\u003c/p>\n\u003cp>The stories of \u003cem>Place/Settings\u003c/em> come courtesy of 10 different writers, all with strong ties to the city—some stories are based on true events, some are fictional, and some fall in between. Whether read by the author or a voice actor, the stories utilize sound design and narration styles to build an entirely sonic theatrical experience. All are personal and unique, each with its own stylistic flair.\u003c/p>\n\u003cfigure id=\"attachment_13894233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-800x531.jpeg\" alt=\"Richard Montoya, a contributing writer to Berkeley Rep's 'Place/Settings.'\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13894233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-1020x677.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, a contributing writer to Berkeley Rep’s ‘Place/Settings.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon listening to a cross-section of episodes, I found \u003cem>Place/Settings\u003c/em> to be an artistically distinctive and heartwarming tribute to one of the most exceptional cities in the Bay. Although I grew up in Oakland, I spent a good deal of my childhood visiting the neighboring city of Berkeley. Many of the featured writers of \u003cem>Place/Settings\u003c/em> grew up in neighboring cities as well, like Daniel Handler, whose episode tells the story of visiting Berkeley from his hometown of San Francisco, or Kamala Parks, who moved to Berkeley from her mother’s house in San Jose.\u003c/p>\n\u003cp>Handler, better known by his pen name Lemony Snicket, contributes a story from his time growing up in San Francisco, when he viewed Berkeley as a formidable, fascinating place. He describes one real-life journey to the “glamorous” city in “The Black Mass Sonata.” Read by Lance Gardner, the episode puts the listener in the shoes of a teenage Handler during a lonely period of his life as he aimlessly wanders alone along Bancroft Way before finding himself in the Musical Offering Cafe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Handler’s descriptions of trepidation at entering the shops and restaurants he’d deemed “too cool” for him brought me back to the memory of an uncomfortable period of my own adolescence: just barely old enough to venture out on my own, but not yet old enough to have a group of friends to make the experience less daunting. And yet in that cafe, the lost Handler finds clarity as he eats a cup of soup and discovers a sonata playing in the cafe that he does not yet know will snap him out of a bout of amnesia just a few years later.\u003c/p>\n\u003cfigure id=\"attachment_13894232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-800x600.jpeg\" alt=\"Contributing writer Kamala Parks (Frank Piegaro)\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13894232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks, a contributing writer to Berkeley Rep’s ‘Place/Settings.’ \u003ccite>(Frank Piegaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “The Third Sphere,” drummer, 924 Gilman founder, and BART planner Kamala Parks tells her story of grappling with her parents’ divorce in early adolescence. In Parks’ story, narrated by Denmo Ibrahim, the North Berkeley BART station serves as the backdrop for her first strides into independence after she moves in with her father to escape the jealous abuse of her temperamental brother.\u003c/p>\n\u003cp>The city of Berkeley also serves as the site for Parks’ encounters with the consequences of California’s Prop. 13, as slashed education funding forces her into a remedial class full of rowdy students that she skips school to avoid. As a lifelong Oakland public school student and recent high school graduate, I found her descriptions of classroom dynamics entertaining and comfortingly familiar; although my middle school years came decades after hers, our experiences echo one another.[aside postID='arts_13840541']\u003c/p>\n\u003cp>Tilden Regional Park makes its perhaps-inevitable appearance in Philip Kan Gotanda’s “night fishing,” an eerie tale of an old fisherman who frequents Jewel Lake. Read by Steven Anthony Jones and BD Wong, the theatrical storytelling and masterful sound design of this episode construct an ominous scene around the listener, building up to a cliffhanger ending. In contrast to the others that I listened to, this episode feels more like a horror movie-turned-audiobook than a personal narrative, demonstrating the versatility of the series and the distinctions between the styles of the different writers.\u003c/p>\n\u003cp>Of all the episodes I sampled, “night fishing” perhaps best exemplifies the purpose of \u003cem>Place/Settings\u003c/em> in its immersiveness, creating its own world through sound, just as Pfaelzer describes, and evoking the mystic and unmistakably magical energy of Berkeley. After living and working remotely from the East Coast for the past month, it brought me back home, even if just for a moment—and therein lies \u003cem>Place/Settings\u003c/em>’ success.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>All 10 episodes of ‘Place/Settings’ are available now. \u003ca href=\"https://www.berkeleyrep.org/season/2021/15861.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past year without live performances and theatre, venues throughout the Bay Area have been forced to pivot to creating \u003ca href=\"https://www.kqed.org/arts/13890054/livestreaming-defined-the-performing-arts-in-2020-how-can-it-be-sustained\" rel=\"noopener noreferrer\" target=\"_blank\">virtual programming\u003c/a> throughout the COVID-19 pandemic. And while streamed theatre can be a hit-or-miss, as Berkeley Rep artistic director Johanna Pfaelzer recently told \u003ca href=\"https://www.berkeleyside.com/2021/01/11/berkeley-rep-launches-place-settings-10-audio-stories-set-in-berkeley\">the Berkeleyside\u003c/a>, “sound can create an entire world.”\u003c/p>\n\u003cp>That’s the premise of \u003cem>Place/Settings\u003c/em>, a new series from Berkeley Rep and the latest example of a Bay Area theater company pivoting to digital offerings. Unlike many recent theatre productions, \u003cem>Place/Settings\u003c/em> isn’t a streamed recording of a play, but an audio-only, 10-episode podcast series that takes listeners to different key locations around Berkeley.\u003c/p>\n\u003cp>The stories of \u003cem>Place/Settings\u003c/em> come courtesy of 10 different writers, all with strong ties to the city—some stories are based on true events, some are fictional, and some fall in between. Whether read by the author or a voice actor, the stories utilize sound design and narration styles to build an entirely sonic theatrical experience. All are personal and unique, each with its own stylistic flair.\u003c/p>\n\u003cfigure id=\"attachment_13894233\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-800x531.jpeg\" alt=\"Richard Montoya, a contributing writer to Berkeley Rep's 'Place/Settings.'\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13894233\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-800x531.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-1020x677.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham-768x510.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Richard-Montoya-photo-by-Jenny-Graham.jpeg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Richard Montoya, a contributing writer to Berkeley Rep’s ‘Place/Settings.’ \u003ccite>(Jenny Graham)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Upon listening to a cross-section of episodes, I found \u003cem>Place/Settings\u003c/em> to be an artistically distinctive and heartwarming tribute to one of the most exceptional cities in the Bay. Although I grew up in Oakland, I spent a good deal of my childhood visiting the neighboring city of Berkeley. Many of the featured writers of \u003cem>Place/Settings\u003c/em> grew up in neighboring cities as well, like Daniel Handler, whose episode tells the story of visiting Berkeley from his hometown of San Francisco, or Kamala Parks, who moved to Berkeley from her mother’s house in San Jose.\u003c/p>\n\u003cp>Handler, better known by his pen name Lemony Snicket, contributes a story from his time growing up in San Francisco, when he viewed Berkeley as a formidable, fascinating place. He describes one real-life journey to the “glamorous” city in “The Black Mass Sonata.” Read by Lance Gardner, the episode puts the listener in the shoes of a teenage Handler during a lonely period of his life as he aimlessly wanders alone along Bancroft Way before finding himself in the Musical Offering Cafe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Handler’s descriptions of trepidation at entering the shops and restaurants he’d deemed “too cool” for him brought me back to the memory of an uncomfortable period of my own adolescence: just barely old enough to venture out on my own, but not yet old enough to have a group of friends to make the experience less daunting. And yet in that cafe, the lost Handler finds clarity as he eats a cup of soup and discovers a sonata playing in the cafe that he does not yet know will snap him out of a bout of amnesia just a few years later.\u003c/p>\n\u003cfigure id=\"attachment_13894232\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-800x600.jpeg\" alt=\"Contributing writer Kamala Parks (Frank Piegaro)\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13894232\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Kamala-Parks-photo-by-Frank-Piegaro-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kamala Parks, a contributing writer to Berkeley Rep’s ‘Place/Settings.’ \u003ccite>(Frank Piegaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In “The Third Sphere,” drummer, 924 Gilman founder, and BART planner Kamala Parks tells her story of grappling with her parents’ divorce in early adolescence. In Parks’ story, narrated by Denmo Ibrahim, the North Berkeley BART station serves as the backdrop for her first strides into independence after she moves in with her father to escape the jealous abuse of her temperamental brother.\u003c/p>\n\u003cp>The city of Berkeley also serves as the site for Parks’ encounters with the consequences of California’s Prop. 13, as slashed education funding forces her into a remedial class full of rowdy students that she skips school to avoid. As a lifelong Oakland public school student and recent high school graduate, I found her descriptions of classroom dynamics entertaining and comfortingly familiar; although my middle school years came decades after hers, our experiences echo one another.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tilden Regional Park makes its perhaps-inevitable appearance in Philip Kan Gotanda’s “night fishing,” an eerie tale of an old fisherman who frequents Jewel Lake. Read by Steven Anthony Jones and BD Wong, the theatrical storytelling and masterful sound design of this episode construct an ominous scene around the listener, building up to a cliffhanger ending. In contrast to the others that I listened to, this episode feels more like a horror movie-turned-audiobook than a personal narrative, demonstrating the versatility of the series and the distinctions between the styles of the different writers.\u003c/p>\n\u003cp>Of all the episodes I sampled, “night fishing” perhaps best exemplifies the purpose of \u003cem>Place/Settings\u003c/em> in its immersiveness, creating its own world through sound, just as Pfaelzer describes, and evoking the mystic and unmistakably magical energy of Berkeley. After living and working remotely from the East Coast for the past month, it brought me back home, even if just for a moment—and therein lies \u003cem>Place/Settings\u003c/em>’ success.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>All 10 episodes of ‘Place/Settings’ are available now. \u003ca href=\"https://www.berkeleyrep.org/season/2021/15861.asp\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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