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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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"title": "Embracing a Painful History, the World's Only Ohlone Restaurant Finds Unlikely New Home",
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"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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"title": "Embracing a Painful History, the World's Only Ohlone Restaurant Finds Unlikely New Home | KQED",
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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",
"headTitle": "Roll With Us: Bending Corners and Poppin’ Wheelies on Billboards | KQED",
"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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"excerpt": "Biking culture in the Bay Area has always been noteworthy, but to see it featured on an Apple billboard is something to write home about. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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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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"excerpt": "Parcels Project translates nostalgic favorites like Hainan chicken and Taiwanese beef noodle soup into a dumpling format.",
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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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"title": "Microtransactions are Great For Game Companies, Costly For Players",
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"content": "\u003cp>\u003cem>Assassin’s Creed Valhalla\u003c/em>, the latest installment in Ubisoft’s \u003cem>Assassin’s Creed \u003c/em>franchise, came out in November 2020. Like most \u003cem>AC \u003c/em>games, it was highly anticipated; it sold more copies in its opening week than any other game in the series. Needless to say, fans were excited.\u003c/p>\n\u003cp>And yet, just over four months after its release, fans are castigating Ubisoft for including and leveraging overpriced, in-game purchases—more commonly called microtransactions.\u003c/p>\n\u003cp>You’ve probably heard of microtransactions before, even if you’re not a hardcore gamer. Take a look at your phone’s app store, and almost all the games in there will have a little textbox that says “In-App Purchases.” [aside postid='pop_104193']\u003c/p>\n\u003cp>Microtransactions come in all shapes and sizes. Most of the time they’re simply cosmetic, like buying a swanky set of rainbow armor for your avatar. Other times they affect actual gameplay; a player might buy an upgrade that puts them in a better position to beat an opponent online.\u003c/p>\n\u003cp>When it comes to cosmetic in-game purchases, most players don’t seem to mind. Spending money simply to change how your character looks doesn’t affect gameplay itself, so why should it matter?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It matters to gamers like Filip Eriksson—one of those flabbergasted \u003cem>Assassin’s Creed \u003c/em>fans—who recently went viral on Reddit for posting about his frustration with the new \u003cem>AC \u003c/em>game.\u003c/p>\n\u003cp>“There are now 9 armor sets in the microtransaction store—just as many as in the entire base game.” Eriksson said in his \u003ca href=\"https://www.reddit.com/r/assassinscreed/comments/lbsmi8/there_are_now_9_armor_sets_in_the/\" target=\"_blank\" rel=\"noopener noreferrer\">post\u003c/a>. “Are we just gonna let this slide?”\u003c/p>\n\u003cp>Visuals are important to players. When they buy a game, they expect an escape, a journey into some unknown world filled with action and adventure. And the scenic terrains aren’t the only visuals that matter.\u003c/p>\n\u003cp>“The cosmetic part, for me, is something that’s pretty important,” Eriksson tells me. “I like customizing my character. The customization was a bit lacking [in \u003cem>Assassin’s Creed Valhalla\u003c/em>] … which made it a bit sour when there was so much available in the microtransaction store.” [aside postid='pop_30073']\u003c/p>\n\u003cp>Eriksson’s concerns come down to the price tag: Do players really want to pay more money—in this case around $20 for a set of armor—for in-game content when they’ve already spent $60 on the game itself?\u003c/p>\n\u003cp>“Generally, in the past \u003cem>Assassin’s Creed \u003c/em>games, they drop a couple of expansions, too,” says Eriksson. “The last big season pass cost about $20. It included a new map, countless quests, and it costs around the same price” as just one of the new armor sets.\u003c/p>\n\u003cp>To go by the replies on Eriksson’s original Reddit post, a lot of \u003cem>AC \u003c/em>fans feel similarly about Ubisoft’s microtransactions in the new game. One reply stuck out in particular:\u003c/p>\n\u003cp>“This is why I wait a year or so until it’s dirt cheap on Steam,” wrote /u/NoHelp_HelpDesk. “I’ll pay what I feel is an honest price if they’re going to nickel and dime me at every turn.”\u003c/p>\n\u003cp>Players just want the chance to customize the main character, Eivor, without feeling like they have to empty their wallets to do so.\u003c/p>\n\u003cp>“In \u003cem>Assassin’s Creed Valhalla\u003c/em>, we are continuing to work hard to create the best possible experience for players,” Ubisoft said in a statement. “That includes offering a wide array of both free and paid content, which is regularly updated, with the goal of enabling players to make Eivor’s story their own through personalization.”\u003c/p>\n\u003cp>Microtransactions aren’t just about the cosmetic upgrades; often, they’re important to the actual gameplay. Dr. Ellen Evers, a marketing professor at the University of California, Berkeley who researches microtransactions, says that can take away a video game’s magic.\u003c/p>\n\u003cp>“Games in general, not just video games, have their own set of norms and rules that you’re supposed to follow,” says Evers. “It’s not against the law to steal money from the bank in \u003cem>Monopoly\u003c/em>, but clearly you’re violating the spirit of the game.”\u003c/p>\n\u003cp>According to Evers, when a player spends money on in-game purchases, they stray from the game’s original purpose.\u003c/p>\n\u003cp>“The implicit assumption is that by playing the game and building up your character, you’re supposed to get better,” says Evers. “Microtransactions basically make the game easier. They violate those rules and norms that are part of the game.”\u003c/p>\n\u003cp>Some games have even become infamous for their “pay-to-win” use of microtransactions, like \u003ca href=\"https://www.businessinsider.com/star-wars-battlefront-2-microtransactions-outrage-2017-11\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars Battlefront II\u003c/em>\u003c/a> or the mobile game \u003cem>Clash of Clans\u003c/em>, where players could simply buy the most powerful upgrades and easily defeat their online opponents.\u003c/p>\n\u003cp>Certain microtransactions fall somewhere in between cosmetic enhancements and pay-to-win. The well-known mobile game \u003cem>Candy Crush Saga \u003c/em>encourages purchasing what we’ll call “status boosting” microtransactions, where your online ranking may be influenced by how much you’ve spent on the game. While these in-game purchases can’t give you an edge against an opponent (\u003cem>Candy Crush\u003c/em> is a single player game), they affect where you fall in the rankings.\u003c/p>\n\u003cp>“If you play \u003cem>Candy Crush\u003c/em>, you can compare your ranking to other people,” says Evers. “And if your money gives you an edge [on the rankings] … that seems to be a situation where people get the most upset.” [aside postid='arts_13891275']\u003c/p>\n\u003cp>But not all in-game purchases are cause for concern. Downloadable content—or DLC for short—is a type of microtransaction that adds content to an existing game. A player can purchase new DLC to access more content after the game’s main story is complete, whether that’s a new storyline, map, characters or a mixture of all of it. “When you get DLC, you get something that’s more or less worth your money,” says Eriksson.\u003c/p>\n\u003cp>And that’s perhaps the most significant part. Too often major game developers overcharge for their extra content. Whether it’s a pay-to-win purchase or a basic cosmetic upgrade, a dedicated gamer could be throwing money into microtransactions that promise little in return.\u003c/p>\n\u003cp>It would be unfair to say that all game developers are only trying to snatch our wallets; many creators offer free DLC knowing that their fans will return the favor with positive reviews and free advertising. Take games like the magnificent \u003cem>Hollow Knight\u003c/em> or \u003cem>Stardew Valley\u003c/em>: They offer their players hours of extra content for very little, even adding more free DLC after the initial purchase.\u003c/p>\n\u003cp>But for the developers that may be hesitant to give away content for cheap or even for free, prepare for some backlash from the all-powerful internet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for \u003c/em>Join The Game\u003cem>\u003cem>. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\">@kelbot_\u003c/a>\u003c/em>\u003c/em>\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=Microtransactions+Are+Great+For+Game+Companies%2C+Less+Fun+For+Players&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Assassin’s Creed Valhalla\u003c/em>, the latest installment in Ubisoft’s \u003cem>Assassin’s Creed \u003c/em>franchise, came out in November 2020. Like most \u003cem>AC \u003c/em>games, it was highly anticipated; it sold more copies in its opening week than any other game in the series. Needless to say, fans were excited.\u003c/p>\n\u003cp>And yet, just over four months after its release, fans are castigating Ubisoft for including and leveraging overpriced, in-game purchases—more commonly called microtransactions.\u003c/p>\n\u003cp>You’ve probably heard of microtransactions before, even if you’re not a hardcore gamer. Take a look at your phone’s app store, and almost all the games in there will have a little textbox that says “In-App Purchases.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It matters to gamers like Filip Eriksson—one of those flabbergasted \u003cem>Assassin’s Creed \u003c/em>fans—who recently went viral on Reddit for posting about his frustration with the new \u003cem>AC \u003c/em>game.\u003c/p>\n\u003cp>“There are now 9 armor sets in the microtransaction store—just as many as in the entire base game.” Eriksson said in his \u003ca href=\"https://www.reddit.com/r/assassinscreed/comments/lbsmi8/there_are_now_9_armor_sets_in_the/\" target=\"_blank\" rel=\"noopener noreferrer\">post\u003c/a>. “Are we just gonna let this slide?”\u003c/p>\n\u003cp>Visuals are important to players. When they buy a game, they expect an escape, a journey into some unknown world filled with action and adventure. And the scenic terrains aren’t the only visuals that matter.\u003c/p>\n\u003cp>“The cosmetic part, for me, is something that’s pretty important,” Eriksson tells me. “I like customizing my character. The customization was a bit lacking [in \u003cem>Assassin’s Creed Valhalla\u003c/em>] … which made it a bit sour when there was so much available in the microtransaction store.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eriksson’s concerns come down to the price tag: Do players really want to pay more money—in this case around $20 for a set of armor—for in-game content when they’ve already spent $60 on the game itself?\u003c/p>\n\u003cp>“Generally, in the past \u003cem>Assassin’s Creed \u003c/em>games, they drop a couple of expansions, too,” says Eriksson. “The last big season pass cost about $20. It included a new map, countless quests, and it costs around the same price” as just one of the new armor sets.\u003c/p>\n\u003cp>To go by the replies on Eriksson’s original Reddit post, a lot of \u003cem>AC \u003c/em>fans feel similarly about Ubisoft’s microtransactions in the new game. One reply stuck out in particular:\u003c/p>\n\u003cp>“This is why I wait a year or so until it’s dirt cheap on Steam,” wrote /u/NoHelp_HelpDesk. “I’ll pay what I feel is an honest price if they’re going to nickel and dime me at every turn.”\u003c/p>\n\u003cp>Players just want the chance to customize the main character, Eivor, without feeling like they have to empty their wallets to do so.\u003c/p>\n\u003cp>“In \u003cem>Assassin’s Creed Valhalla\u003c/em>, we are continuing to work hard to create the best possible experience for players,” Ubisoft said in a statement. “That includes offering a wide array of both free and paid content, which is regularly updated, with the goal of enabling players to make Eivor’s story their own through personalization.”\u003c/p>\n\u003cp>Microtransactions aren’t just about the cosmetic upgrades; often, they’re important to the actual gameplay. Dr. Ellen Evers, a marketing professor at the University of California, Berkeley who researches microtransactions, says that can take away a video game’s magic.\u003c/p>\n\u003cp>“Games in general, not just video games, have their own set of norms and rules that you’re supposed to follow,” says Evers. “It’s not against the law to steal money from the bank in \u003cem>Monopoly\u003c/em>, but clearly you’re violating the spirit of the game.”\u003c/p>\n\u003cp>According to Evers, when a player spends money on in-game purchases, they stray from the game’s original purpose.\u003c/p>\n\u003cp>“The implicit assumption is that by playing the game and building up your character, you’re supposed to get better,” says Evers. “Microtransactions basically make the game easier. They violate those rules and norms that are part of the game.”\u003c/p>\n\u003cp>Some games have even become infamous for their “pay-to-win” use of microtransactions, like \u003ca href=\"https://www.businessinsider.com/star-wars-battlefront-2-microtransactions-outrage-2017-11\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Star Wars Battlefront II\u003c/em>\u003c/a> or the mobile game \u003cem>Clash of Clans\u003c/em>, where players could simply buy the most powerful upgrades and easily defeat their online opponents.\u003c/p>\n\u003cp>Certain microtransactions fall somewhere in between cosmetic enhancements and pay-to-win. The well-known mobile game \u003cem>Candy Crush Saga \u003c/em>encourages purchasing what we’ll call “status boosting” microtransactions, where your online ranking may be influenced by how much you’ve spent on the game. While these in-game purchases can’t give you an edge against an opponent (\u003cem>Candy Crush\u003c/em> is a single player game), they affect where you fall in the rankings.\u003c/p>\n\u003cp>“If you play \u003cem>Candy Crush\u003c/em>, you can compare your ranking to other people,” says Evers. “And if your money gives you an edge [on the rankings] … that seems to be a situation where people get the most upset.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But not all in-game purchases are cause for concern. Downloadable content—or DLC for short—is a type of microtransaction that adds content to an existing game. A player can purchase new DLC to access more content after the game’s main story is complete, whether that’s a new storyline, map, characters or a mixture of all of it. “When you get DLC, you get something that’s more or less worth your money,” says Eriksson.\u003c/p>\n\u003cp>And that’s perhaps the most significant part. Too often major game developers overcharge for their extra content. Whether it’s a pay-to-win purchase or a basic cosmetic upgrade, a dedicated gamer could be throwing money into microtransactions that promise little in return.\u003c/p>\n\u003cp>It would be unfair to say that all game developers are only trying to snatch our wallets; many creators offer free DLC knowing that their fans will return the favor with positive reviews and free advertising. Take games like the magnificent \u003cem>Hollow Knight\u003c/em> or \u003cem>Stardew Valley\u003c/em>: They offer their players hours of extra content for very little, even adding more free DLC after the initial purchase.\u003c/p>\n\u003cp>But for the developers that may be hesitant to give away content for cheap or even for free, prepare for some backlash from the all-powerful internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Keller Gordon is a columnist for \u003c/em>Join The Game\u003cem>\u003cem>. Find him on Twitter: \u003ca href=\"https://twitter.com/kelbot_\">@kelbot_\u003c/a>\u003c/em>\u003c/em>\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=Microtransactions+Are+Great+For+Game+Companies%2C+Less+Fun+For+Players&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Putting Family, Eritrea, and Berkeley at the Heart of “Everything”",
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"content": "\u003cfigure id=\"attachment_13889456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_6961-800x1207.jpg\" alt=\"Abdulalim A’Omer, founder of the Everything Brand sits on a stool, against a gray backdrop. He looks straight into the camera with no expression. His thick curly hair and beard are the same length, about an inch. He wears a full white outfit, you can see two red E's on his sleeve and thigh. His gray shoes have accents of orange. The shoes and his outfit look fresh.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abdulalim A’Omer, founder of the Everything Brand \u003ccite>(Israel Alemu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/AbdulalimJemal\" target=\"_blank\" rel=\"noopener noreferrer\">Abdulalim A’Omer\u003c/a> grew up in a tight-knit Muslim Eritrean community in South Berkeley.\u003c/p>\n\u003cp>He says that experience exposed him to a little bit of everything– fashion, basketball, family, politics, religion, technology and more. It all proved to be a foundational part of Abdulalim’s multifaceted \u003ca href=\"https://twitter.com/everything_brnd\" target=\"_blank\" rel=\"noopener noreferrer\">Everything brand\u003c/a>, which wants to ask its users, \u003cem>what’s your everything\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_13889492\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889492\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ETHS-19-800x533.jpg\" alt=\"Abdulalim A’Omer (red shirt) and his folks modeling for his Everything brand\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abdulalim A’Omer (red shirt in the front row) and his folks modeling for his Everything brand \u003ccite>(Israel Alemu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdulalim, or Abdul for short, is the oldest of four boys. His parents immigrated from Eritrea, allowing him to become a college educated entrepreneur. Their sacrifices aren’t lost on him and he maintains a connection to their homeland. But recently, he’s watched Eritrea become enmeshed in a brewing civil conflict in the neighboring country of Ethiopia.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish we talk to Abdulalim about how he is using technology and art to bring people into his world of culture, community and … everything.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Abdulalim A’Omer.\u003c/strong>\u003c/p>\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=KQINC2963333937\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Pen: How would you describe that tight knit group you grew up in\u003c/em>?\u003c/p>\n\u003cp>Abdulalim: My parents immigrated from Eritrea back in the 80s and 90s, you know, fleeing war and violence and what not. But my parents that kind of created a community around us and other Eritreans who immigrated here. They all had kids at the same time. I grew up with three other families, we have no blood relationship with, but just have this shared background. We’re all Eritrean, we’re all Muslim and our parents really made it a point for all of us to grow up together. Our parents kind of created this thing where every Friday we’d go to each other’s houses and it started off as like an opportunity to teach the kids Quran verses and then we just go have fun. We’d just go play for the rest of the night. For our parents, it’s been about almost 30 years now they’ve done it every Friday. And we have that shared history, we have that shared background. But at the same time [us kids] grew up in a different world.\u003c/p>\n\u003cp>Abdulalim: At home it’s like you have the same values of and traditions back home. But, you know, when you’re outside, in the Bay Area, you’re you’re black in America. I’m a black man in America and I’m facing the things that come with that. Like, I have those struggles. I share those struggles and that experience really kind of molds you… you know, you hear your stories of family members kind of back home who are really struggling right now and you’re looking to help them out.\u003c/p>\n\u003cfigure id=\"attachment_13889515\" class=\"wp-caption alignnone\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IJgv-qdB.jpg\" alt=\"A Black man wearing a black bomber jacket with flags running down the arm stands in front of a basketball hoop. The camera looks up at him, and he looks down at the camera from a sideways glance. The trees are out of focus in the background, the bigger trees have already lost all their leaves and the sky is clear with no clouds. \" width=\"799\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB-768x1153.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">An Everything brand bomber jacket.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: There’s been some things that have transpired over the weekend in Ethiopia that have spilled over into Eritrea, and I just wanted to get a sense of what’s happening, how it’s impacting you and your community.\u003c/em>\u003c/p>\n\u003cp>Abdualim: It’s rough man like what’s happening in Tigray is that Ethiopia was set to have elections this past year. And due to Covid-19, the prime minister and the Ethiopian government announced that they would be postponing elections. However, Ethiopia is made up of an ethnic federation, so ethnic groups kind of have their own statehoods and they have their own local governments. And the Tigray region is on an ethnic federation level, a statehood level, said ‘no, we’re going to continue to have our elections.’ That didn’t sit right with the Ethiopian government. And that’s kind of led to this higher tension. So these types of things like these relationships that have like been soured for multiple decades, you know, these go back up until like the 60s, 50s it’s just kind of taking light again today.\u003c/p>\n\u003cp>\u003cem>Pen: To be clear, there’s the conflict. Like you said, it’s been a back and forth for years, decades now…\u003c/em>\u003c/p>\n\u003cp>Abdualim: Eritrea right now is one of the worst dictatorships in the world and has like the highest censorship in the world. So you’re only seeing state run propaganda. So when one day you wake up and the capital city is being attacked, you have no idea why. You don’t understand what’s going on. You don’t understand like, oh, there’s a war happening in Ethiopia and that Eritrea has actually been involved from the beginning and that now we’re being attacked because of the consequence of our actions of being involved.\u003c/p>\n\u003cp>\u003cem>Pen: When you talk about that kabosh on communications and you recently launched your media platform, how does that intertwine?\u003c/em>\u003c/p>\n\u003cp>Abdualim: I studied at UC Davis and I studied international relations and world trade development. And my entire focus was really on that part of the world. You know, how could I create economic opportunity on a large scale. How can I do that back home? When I understood the privilege and the opportunity that I have. And I want to make the most of it, try to create opportunity, to try to create for the betterment of those people.\u003c/p>\n\u003cp>\u003cem>Pen: … I know your parents had to be like, ‘what you’re getting into fashion now?’\u003c/em>\u003c/p>\n\u003cp>Abdulalim: But slowly, like you start seeing the community start to buy your stuff. It’s funny, I remember at one little conference here not too long ago, there was a bunch of people wearing my stuff and my dad came up to me like, “hey, like this is kind of cool. Like a lot of people are coming up to me like ‘yo, this is your son’s stuff.'”\u003c/p>\n\u003cp>Abdulalim: Just that kind of moment realization where they’re now like, “yo, you should do this color, you should do this design, you should you know, you’ve thought about this.” You know, giving me recommendations. So it’s really cool to see it kind of come full circle and see, like, the full potential of all this and they understand that I’m extremely invested in this, although I work a full time job and I’m trying to help support myself, them and my siblings as well. So they know like the potential and they’re seeing the growth and its def made them believe I’d say.\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>\u003cfigure id=\"attachment_13889456\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889456\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IMG_6961-800x1207.jpg\" alt=\"Abdulalim A’Omer, founder of the Everything Brand sits on a stool, against a gray backdrop. He looks straight into the camera with no expression. His thick curly hair and beard are the same length, about an inch. He wears a full white outfit, you can see two red E's on his sleeve and thigh. His gray shoes have accents of orange. The shoes and his outfit look fresh.\" width=\"800\" height=\"1207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-800x1207.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IMG_6961.jpg 1002w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abdulalim A’Omer, founder of the Everything Brand \u003ccite>(Israel Alemu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://twitter.com/AbdulalimJemal\" target=\"_blank\" rel=\"noopener noreferrer\">Abdulalim A’Omer\u003c/a> grew up in a tight-knit Muslim Eritrean community in South Berkeley.\u003c/p>\n\u003cp>He says that experience exposed him to a little bit of everything– fashion, basketball, family, politics, religion, technology and more. It all proved to be a foundational part of Abdulalim’s multifaceted \u003ca href=\"https://twitter.com/everything_brnd\" target=\"_blank\" rel=\"noopener noreferrer\">Everything brand\u003c/a>, which wants to ask its users, \u003cem>what’s your everything\u003c/em>?\u003c/p>\n\u003cfigure id=\"attachment_13889492\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889492\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/ETHS-19-800x533.jpg\" alt=\"Abdulalim A’Omer (red shirt) and his folks modeling for his Everything brand\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/ETHS-19-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Abdulalim A’Omer (red shirt in the front row) and his folks modeling for his Everything brand \u003ccite>(Israel Alemu)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Abdulalim, or Abdul for short, is the oldest of four boys. His parents immigrated from Eritrea, allowing him to become a college educated entrepreneur. Their sacrifices aren’t lost on him and he maintains a connection to their homeland. But recently, he’s watched Eritrea become enmeshed in a brewing civil conflict in the neighboring country of Ethiopia.\u003c/p>\n\u003cp>In this week’s episode of Rightnowish we talk to Abdulalim about how he is using technology and art to bring people into his world of culture, community and … everything.\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Abdulalim A’Omer.\u003c/strong>\u003c/p>\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=KQINC2963333937\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>Pen: How would you describe that tight knit group you grew up in\u003c/em>?\u003c/p>\n\u003cp>Abdulalim: My parents immigrated from Eritrea back in the 80s and 90s, you know, fleeing war and violence and what not. But my parents that kind of created a community around us and other Eritreans who immigrated here. They all had kids at the same time. I grew up with three other families, we have no blood relationship with, but just have this shared background. We’re all Eritrean, we’re all Muslim and our parents really made it a point for all of us to grow up together. Our parents kind of created this thing where every Friday we’d go to each other’s houses and it started off as like an opportunity to teach the kids Quran verses and then we just go have fun. We’d just go play for the rest of the night. For our parents, it’s been about almost 30 years now they’ve done it every Friday. And we have that shared history, we have that shared background. But at the same time [us kids] grew up in a different world.\u003c/p>\n\u003cp>Abdulalim: At home it’s like you have the same values of and traditions back home. But, you know, when you’re outside, in the Bay Area, you’re you’re black in America. I’m a black man in America and I’m facing the things that come with that. Like, I have those struggles. I share those struggles and that experience really kind of molds you… you know, you hear your stories of family members kind of back home who are really struggling right now and you’re looking to help them out.\u003c/p>\n\u003cfigure id=\"attachment_13889515\" class=\"wp-caption alignnone\" style=\"max-width: 799px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/IJgv-qdB.jpg\" alt=\"A Black man wearing a black bomber jacket with flags running down the arm stands in front of a basketball hoop. The camera looks up at him, and he looks down at the camera from a sideways glance. The trees are out of focus in the background, the bigger trees have already lost all their leaves and the sky is clear with no clouds. \" width=\"799\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB.jpg 799w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/IJgv-qdB-768x1153.jpg 768w\" sizes=\"(max-width: 799px) 100vw, 799px\">\u003cfigcaption class=\"wp-caption-text\">An Everything brand bomber jacket.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Pen: There’s been some things that have transpired over the weekend in Ethiopia that have spilled over into Eritrea, and I just wanted to get a sense of what’s happening, how it’s impacting you and your community.\u003c/em>\u003c/p>\n\u003cp>Abdualim: It’s rough man like what’s happening in Tigray is that Ethiopia was set to have elections this past year. And due to Covid-19, the prime minister and the Ethiopian government announced that they would be postponing elections. However, Ethiopia is made up of an ethnic federation, so ethnic groups kind of have their own statehoods and they have their own local governments. And the Tigray region is on an ethnic federation level, a statehood level, said ‘no, we’re going to continue to have our elections.’ That didn’t sit right with the Ethiopian government. And that’s kind of led to this higher tension. So these types of things like these relationships that have like been soured for multiple decades, you know, these go back up until like the 60s, 50s it’s just kind of taking light again today.\u003c/p>\n\u003cp>\u003cem>Pen: To be clear, there’s the conflict. Like you said, it’s been a back and forth for years, decades now…\u003c/em>\u003c/p>\n\u003cp>Abdualim: Eritrea right now is one of the worst dictatorships in the world and has like the highest censorship in the world. So you’re only seeing state run propaganda. So when one day you wake up and the capital city is being attacked, you have no idea why. You don’t understand what’s going on. You don’t understand like, oh, there’s a war happening in Ethiopia and that Eritrea has actually been involved from the beginning and that now we’re being attacked because of the consequence of our actions of being involved.\u003c/p>\n\u003cp>\u003cem>Pen: When you talk about that kabosh on communications and you recently launched your media platform, how does that intertwine?\u003c/em>\u003c/p>\n\u003cp>Abdualim: I studied at UC Davis and I studied international relations and world trade development. And my entire focus was really on that part of the world. You know, how could I create economic opportunity on a large scale. How can I do that back home? When I understood the privilege and the opportunity that I have. And I want to make the most of it, try to create opportunity, to try to create for the betterment of those people.\u003c/p>\n\u003cp>\u003cem>Pen: … I know your parents had to be like, ‘what you’re getting into fashion now?’\u003c/em>\u003c/p>\n\u003cp>Abdulalim: But slowly, like you start seeing the community start to buy your stuff. It’s funny, I remember at one little conference here not too long ago, there was a bunch of people wearing my stuff and my dad came up to me like, “hey, like this is kind of cool. Like a lot of people are coming up to me like ‘yo, this is your son’s stuff.'”\u003c/p>\n\u003cp>Abdulalim: Just that kind of moment realization where they’re now like, “yo, you should do this color, you should do this design, you should you know, you’ve thought about this.” You know, giving me recommendations. So it’s really cool to see it kind of come full circle and see, like, the full potential of all this and they understand that I’m extremely invested in this, although I work a full time job and I’m trying to help support myself, them and my siblings as well. So they know like the potential and they’re seeing the growth and its def made them believe I’d say.\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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"content": "\u003cp>\u003ci>This post has been updated to reflect the extended application deadline of Sept. 21.\u003c/i>\u003c/p>\n\u003cp>Kala Art Institute is now accepting applications for a brand-new expansion on its \u003ca href=\"http://www.kala.org/studio/print-public/\" rel=\"noopener noreferrer\" target=\"_blank\">Print Public residency program\u003c/a>: an artist residency with the city of Berkeley itself. Two local artists or artist teams will work as “cultural strategists” (more on that later) to pilot the program. \u003c/p>\n\u003cp>San Francisco began a \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/announcing-first-artist-residence-san-francisco-planning\" rel=\"noopener noreferrer\" target=\"_blank\">similar effort\u003c/a> in 2015; artists have since undertaken residencies in the planning department and within \u003ca href=\"https://www.sfartscommission.org/content/jeremy-fish\" rel=\"noopener noreferrer\" target=\"_blank\">City Hall\u003c/a>. New York’s \u003ca href=\"https://www1.nyc.gov/site/dcla/publicart/pair.page\" rel=\"noopener noreferrer\" target=\"_blank\">Public Artists in Residence\u003c/a> program places artists in departments like the Mayor’s Office of Immigrant Affairs, the Department of Records and Information Services, and the Commission on Human Rights, yielding all sorts of output: physical artworks, events, online exhibitions and poster series.\u003c/p>\n\u003cp>New York’s program is inspired by the visionary work of \u003ca href=\"https://feldmangallery.com/artist-home/mierle-laderman-ukeles\" rel=\"noopener noreferrer\" target=\"_blank\">Mierle Laderman Ukeles\u003c/a>, who began her own self-appointed (and unsalaried) residency with the New York City Department of Sanitation in 1977—and continues it to this day.\u003c/p>\n\u003cp>Kala and Berkeley’s program will provide the residency recipients with $7,500 each and a 14-month residency at Kala, with 24-hour access to the printmaking studio and digital lab. The specific city department artists will embed within is not yet decided, but the program views the artist’s role as using “creative thinking and culture as a way to address community issues or de-tangle community knots.”\u003c/p>\n\u003cp>Also specified: The artists need not make objects.\u003c/p>\n\u003cp>Four finalists will be chosen based on the initial applications, which are due by Sept. 21. \u003ca href=\"http://www.kala.org/studio/print-public/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This post has been updated to reflect the extended application deadline of Sept. 21.\u003c/i>\u003c/p>\n\u003cp>Kala Art Institute is now accepting applications for a brand-new expansion on its \u003ca href=\"http://www.kala.org/studio/print-public/\" rel=\"noopener noreferrer\" target=\"_blank\">Print Public residency program\u003c/a>: an artist residency with the city of Berkeley itself. Two local artists or artist teams will work as “cultural strategists” (more on that later) to pilot the program. \u003c/p>\n\u003cp>San Francisco began a \u003ca href=\"https://www.sfartscommission.org/our-role-impact/press-room/press-release/announcing-first-artist-residence-san-francisco-planning\" rel=\"noopener noreferrer\" target=\"_blank\">similar effort\u003c/a> in 2015; artists have since undertaken residencies in the planning department and within \u003ca href=\"https://www.sfartscommission.org/content/jeremy-fish\" rel=\"noopener noreferrer\" target=\"_blank\">City Hall\u003c/a>. New York’s \u003ca href=\"https://www1.nyc.gov/site/dcla/publicart/pair.page\" rel=\"noopener noreferrer\" target=\"_blank\">Public Artists in Residence\u003c/a> program places artists in departments like the Mayor’s Office of Immigrant Affairs, the Department of Records and Information Services, and the Commission on Human Rights, yielding all sorts of output: physical artworks, events, online exhibitions and poster series.\u003c/p>\n\u003cp>New York’s program is inspired by the visionary work of \u003ca href=\"https://feldmangallery.com/artist-home/mierle-laderman-ukeles\" rel=\"noopener noreferrer\" target=\"_blank\">Mierle Laderman Ukeles\u003c/a>, who began her own self-appointed (and unsalaried) residency with the New York City Department of Sanitation in 1977—and continues it to this day.\u003c/p>\n\u003cp>Kala and Berkeley’s program will provide the residency recipients with $7,500 each and a 14-month residency at Kala, with 24-hour access to the printmaking studio and digital lab. The specific city department artists will embed within is not yet decided, but the program views the artist’s role as using “creative thinking and culture as a way to address community issues or de-tangle community knots.”\u003c/p>\n\u003cp>Also specified: The artists need not make objects.\u003c/p>\n\u003cp>Four finalists will be chosen based on the initial applications, which are due by Sept. 21. \u003ca href=\"http://www.kala.org/studio/print-public/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Berkeley Art Museum and Pacific Film Archive (BAMPFA) announced on Thursday \u003ca href=\"https://bampfa.org/news/julie-rodrigues-widholm-appointed-lead-bampfa\" rel=\"noopener noreferrer\" target=\"_blank\">the appointment\u003c/a> of a new director: Julie Rodrigues Widholm, the current director and chief curator of the DePaul Art Museum (DPAM) in Chicago.\u003c/p>\n\u003cp>Widholm comes into Berkeley with high marks. During her five years at DPAM, the museum experienced a 40% increase in attendance and a tripling of its annual budget. She also oversaw the addition of 500 artworks to the museum’s collection “with a particular emphasis on work by underrecognized artists from marginalized groups,” according to BAMPFA’s press release.\u003c/p>\n\u003cp>Widholm succeeds BAMPFA’s \u003ca href=\"https://www.kqed.org/arts/13866997/lawrence-rinder-bampfa-director-and-chief-curator-to-step-down\" rel=\"noopener noreferrer\" target=\"_blank\">exiting director Lawrence Rinder\u003c/a>, whose history with the museum stretches back to the 1980s and whose role as director began in 2008. [aside postID='arts_13866997']\u003c/p>\n\u003cp>Rinder was widely acknowledged to have left the museum in good standing, after overseeing a major move from the institution’s former home—a 101,000-square-foot brutalist concrete shell on Bancroft Way—to a new building on Center Street. Rinder, whose acquisition program added over 6,000 works to the museum’s collection, also reportedly secured a “significant gift from an anonymous donor” before his departure. \u003c/p>\n\u003cp>The museum, currently closed due to the COVID-19 pandemic, cites Widholm’s “emphasis on diversity and inclusion” as a contributing factor in her hiring, pointing to DPAM’s curatorial program and its emphasis on work by artists of color, women and LGBTQ artists. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I am incredibly honored to join BAMPFA at this critical juncture to work collaboratively with staff, colleagues, faculty, students, and other stakeholders in the community to think deeply about what it means to be an inclusive academic art museum in the 21st century,” Widholm said in a statement. “I have long admired BAMPFA’s program, including the MATRIX program’s longstanding role in bringing emerging and underrecognized contemporary artists to the fore.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Windholm will start at BAMPFA on Aug. 1.\u003c/p>\n\n",
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"content": "\u003cp>I’ve got a lot to learn when it comes to this fatherhood thing. Not just about love and discipline, but about guiding my daughter toward whatever she aspires to be– and even though she’s only 3, it starts now.\u003c/p>\n\u003cp>With that said, I figured it was time to talk to a father-daughter-duo with experience.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/sydneynycole_/\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Nycole\u003c/a> is a singer and songwriter from Berkeley who has been making music since she was a teen. And although her father (and manager) Gary Reeves has been in the industry since the 1980s, Sydney found this passion on her own.\u003c/p>\n\u003cfigure id=\"attachment_13882186\" class=\"wp-caption alignnone\" style=\"max-width: 732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/FullSizeRender.jpeg\" alt=\"Singer and songwriter Sydney Nycole and her father/manager Gary Reeves\" width=\"732\" height=\"1019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/FullSizeRender.jpeg 732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/FullSizeRender-160x223.jpeg 160w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003cfigcaption class=\"wp-caption-text\">Singer and songwriter Sydney Nycole and her father/manager Gary Reeves \u003ccite>(Sydney Nycole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once it was established that Sydney, a free spirit who has no problem speaking her mind, was on the path to becoming an artist, it was on Gary to make sure he did his best to be there to support her and to know when to step back and let Sydney do her own thing.\u003c/p>\n\u003cp>In this conversation, Gary talks about how his experiences working with the likes of Michael Jordan, Jamie Foxx and Blair Underwood informed what it’s like to be a father in the entertainment industry. Sydney also offers some insight into what her father has done to help her on her path.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In between the laughter and jokes, there’s wisdom from a shared experience. And I just sit there and take notes.\u003c/p>\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=KQINC6323086442&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Nycole and Gary Reeves.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: So Gary, when when did you first notice Sydney’s talents?\u003c/em>\u003c/p>\n\u003cp>Gary: A friend of mine who’s an engineer was in town from Florida and basically Sydney had asked you know to go into the studio for her birthday. He took her in. He was gracious enough to kind of –he worked with a lot of big artists. And he said, “Man Sydney can really write, man, and sing, man.” And I’m like, “Dude what are you doing?” And I’m like, Huh? I mean, like Sydney was doing softball and volleyball, you know, in high school. So I’m like we’re working on this softball scholarship is what we doin it right now [delete: he said]. I said I’m not trying to pull Sydney into music. He said, no bro, you got to hear this song, man. You’ve got to hear this song like it’s right in front of you.\u003c/p>\n\u003cp>Gary: You know, after that, I mean, at the time, I was working heavily with Jamie Foxx. So she said, “Dad, I just want to do these three songs and then have a meeting with Jamie Foxx. And I said, “Okay, cool. I mean, like, that’s not a big ask, OK? You know, I mean, you was like, if anybody can take, you know, so she’s like she’s like, let me just take take me right to the table dad. So I can go land this deal for myself like tomorrow, you know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: Wait, hold on. Wait, wait. What age is this?\u003c/em>\u003c/p>\n\u003cp>Sydney: This is sixteen. Sixteen!\u003c/p>\n\u003cp>\u003cem>Pen: Oh yeah. Just let me meet Jamie Foxx. Whatever. I’m a go ahead and get started…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: The reason why I wanted to have this conversation is not only to highlight the work that you all are doing, but also because it’s Father’s Day weekend and I’m a father of a young daughter who’s she’s some type of entertainer. So, like, do you have any advice?\u003c/em>\u003c/p>\n\u003cp>Gary: The main thing is to be loving as a dad, you know? and then be real right? At the same time. Because if we sugarcoat it, the reality is going to hit them in the face at some point if they don’t have what it takes to make it, right? So so from that standpoint, I’m always real with Sydney. Sydney has enough confidence where she will challenge me on certain things, I feel a certain way about. So I just let it go and like, hey, OK that’s your decision, you live with your decision. fine. But Daddy love you, you know. But, understand Daddy’s been in the game for 20 years, so so just understand that.\u003c/p>\n\u003cp>Sydney: My dad has let me be me. Like I went from volleyball to softball to being a singer to be like just he just let me go. But it was still of course, there’s always love. So I feel like when you let a person be free and still have that love, they’re going to blossom no matter what.\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ve got a lot to learn when it comes to this fatherhood thing. Not just about love and discipline, but about guiding my daughter toward whatever she aspires to be– and even though she’s only 3, it starts now.\u003c/p>\n\u003cp>With that said, I figured it was time to talk to a father-daughter-duo with experience.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/sydneynycole_/\" target=\"_blank\" rel=\"noopener noreferrer\">Sydney Nycole\u003c/a> is a singer and songwriter from Berkeley who has been making music since she was a teen. And although her father (and manager) Gary Reeves has been in the industry since the 1980s, Sydney found this passion on her own.\u003c/p>\n\u003cfigure id=\"attachment_13882186\" class=\"wp-caption alignnone\" style=\"max-width: 732px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13882186\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/06/FullSizeRender.jpeg\" alt=\"Singer and songwriter Sydney Nycole and her father/manager Gary Reeves\" width=\"732\" height=\"1019\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/FullSizeRender.jpeg 732w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/06/FullSizeRender-160x223.jpeg 160w\" sizes=\"(max-width: 732px) 100vw, 732px\">\u003cfigcaption class=\"wp-caption-text\">Singer and songwriter Sydney Nycole and her father/manager Gary Reeves \u003ccite>(Sydney Nycole)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once it was established that Sydney, a free spirit who has no problem speaking her mind, was on the path to becoming an artist, it was on Gary to make sure he did his best to be there to support her and to know when to step back and let Sydney do her own thing.\u003c/p>\n\u003cp>In this conversation, Gary talks about how his experiences working with the likes of Michael Jordan, Jamie Foxx and Blair Underwood informed what it’s like to be a father in the entertainment industry. Sydney also offers some insight into what her father has done to help her on her path.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In between the laughter and jokes, there’s wisdom from a shared experience. And I just sit there and take notes.\u003c/p>\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=KQINC6323086442&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Sydney Nycole and Gary Reeves.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: So Gary, when when did you first notice Sydney’s talents?\u003c/em>\u003c/p>\n\u003cp>Gary: A friend of mine who’s an engineer was in town from Florida and basically Sydney had asked you know to go into the studio for her birthday. He took her in. He was gracious enough to kind of –he worked with a lot of big artists. And he said, “Man Sydney can really write, man, and sing, man.” And I’m like, “Dude what are you doing?” And I’m like, Huh? I mean, like Sydney was doing softball and volleyball, you know, in high school. So I’m like we’re working on this softball scholarship is what we doin it right now [delete: he said]. I said I’m not trying to pull Sydney into music. He said, no bro, you got to hear this song, man. You’ve got to hear this song like it’s right in front of you.\u003c/p>\n\u003cp>Gary: You know, after that, I mean, at the time, I was working heavily with Jamie Foxx. So she said, “Dad, I just want to do these three songs and then have a meeting with Jamie Foxx. And I said, “Okay, cool. I mean, like, that’s not a big ask, OK? You know, I mean, you was like, if anybody can take, you know, so she’s like she’s like, let me just take take me right to the table dad. So I can go land this deal for myself like tomorrow, you know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: Wait, hold on. Wait, wait. What age is this?\u003c/em>\u003c/p>\n\u003cp>Sydney: This is sixteen. Sixteen!\u003c/p>\n\u003cp>\u003cem>Pen: Oh yeah. Just let me meet Jamie Foxx. Whatever. I’m a go ahead and get started…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: The reason why I wanted to have this conversation is not only to highlight the work that you all are doing, but also because it’s Father’s Day weekend and I’m a father of a young daughter who’s she’s some type of entertainer. So, like, do you have any advice?\u003c/em>\u003c/p>\n\u003cp>Gary: The main thing is to be loving as a dad, you know? and then be real right? At the same time. Because if we sugarcoat it, the reality is going to hit them in the face at some point if they don’t have what it takes to make it, right? So so from that standpoint, I’m always real with Sydney. Sydney has enough confidence where she will challenge me on certain things, I feel a certain way about. So I just let it go and like, hey, OK that’s your decision, you live with your decision. fine. But Daddy love you, you know. But, understand Daddy’s been in the game for 20 years, so so just understand that.\u003c/p>\n\u003cp>Sydney: My dad has let me be me. Like I went from volleyball to softball to being a singer to be like just he just let me go. But it was still of course, there’s always love. So I feel like when you let a person be free and still have that love, they’re going to blossom no matter what.\u003c/p>\n\u003cp>\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\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just over a decade ago, Chris Riggins’ friends challenged him to do an opening set for Dave Chappelle at the New Parish in Oakland. That evening launched Riggins’ career in comedy.\u003c/p>\n\u003cp>By this point Riggins has performed on stages across the Bay Area and beyond. And as his career was in mid-stride — COVID-19 hit. Now Riggins is adjusting to a world where comedy performances, like many forms of art, are happening online.\u003c/p>\n\u003cp>While live stand-up comedy is all about the interaction between the comedian and the audience, online comedy causes Riggins to rely on written comments, muted laughs and Facebook emojis from attendees to show that they’re having a good time.\u003c/p>\n\u003cp>Riggins, a South Berkeley native who meshes political banter, commentary on the marijuana industry and “dick pic” jokes into his routines, says that the transition to performing fully online wasn’t easy, but as a pro, he’s learned to adapt.\u003c/p>\n\u003cp>This week on Rightnowish, Chris Riggins takes you to the virtual comedy club.\u003c/p>\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=KQINC5436723833&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Chris Riggins.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Is it too soon to quote crack jokes about Covid?\u003c/em>\u003c/p>\n\u003cp>Chris: No way. That’s all we’ve been doing, I’m at the point now where I’m writing jokes for after Covid because I’m like, OK, these jokes are gonna be relevant until we all get out of it. And then maybe for a month after. You know it’s funny like I’m running into comedians who are scared to do these shows and they’re like, “I don’t want to do this show. It doesn’t feel like comedy.” I’m like, well, maybe you’re not a comedian? I don’t know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: I know a large part of comedy interaction with the crowd. Since you don’t have that crowd to interact with, how do you do comedy?\u003c/em>\u003c/p>\n\u003cp>Chris: When I’m on Facebook Live or Instagram Live, I get the computer or the phone real close to me and I just read the comments, because people are responding. And then when they hear \u003cem>you\u003c/em> respond, then they’re like, he’s responding to me! And then they’re sharing it with other people. It’s more personable.\u003c/p>\n\u003cp>Zoom was a whole other level because I could see people’s faces. So I was like roasting people in their house. Like, I had one dude get up and show me his house so I could roast his house. I was like, walk around your house so I could roast your house, you know? It was fun. And I think everybody enjoyed it.\u003c/p>\n\u003cp>\u003cem>Pen: In doing these online performances where you don’t have the crowd in front of you. How do you know that your jokes are even landing with them?\u003c/em>\u003c/p>\n\u003cp>Chris: When you’re watching, emojis are going up and you know, the heart’s going on, the laughter is going up. So you can see that. And then on Zoom, you can hear the people, they actually can turn their mics on. It’s the best time to be quarantined because we have the most technology just to communicate.\u003c/p>\n\u003cp>The future of anything is adaptation. I mean, like I can admit, I was one of those standup comedians that was like, “I don’t like these Instagram comedians, I don’t like these YouTube guys.” Just because they’re editing their jokes. They got 20 takes and they’re editing it, where I’m going on stage and I got one take to say this joke right in front of a crowd of 2000 people or it’s gonna be bad. You know.\u003c/p>\n\u003cp>[[Coronavirus]] is making you adapt your material because the material \u003cem>has\u003c/em> to be funny now. It’s weeding out the people who are making it on energy. Now, it’s like, oh, are you funny? Because I can’t say nothing back to you. So you better hope I’m laughing.\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>Just over a decade ago, Chris Riggins’ friends challenged him to do an opening set for Dave Chappelle at the New Parish in Oakland. That evening launched Riggins’ career in comedy.\u003c/p>\n\u003cp>By this point Riggins has performed on stages across the Bay Area and beyond. And as his career was in mid-stride — COVID-19 hit. Now Riggins is adjusting to a world where comedy performances, like many forms of art, are happening online.\u003c/p>\n\u003cp>While live stand-up comedy is all about the interaction between the comedian and the audience, online comedy causes Riggins to rely on written comments, muted laughs and Facebook emojis from attendees to show that they’re having a good time.\u003c/p>\n\u003cp>Riggins, a South Berkeley native who meshes political banter, commentary on the marijuana industry and “dick pic” jokes into his routines, says that the transition to performing fully online wasn’t easy, but as a pro, he’s learned to adapt.\u003c/p>\n\u003cp>This week on Rightnowish, Chris Riggins takes you to the virtual comedy club.\u003c/p>\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=KQINC5436723833&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Chris Riggins.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Is it too soon to quote crack jokes about Covid?\u003c/em>\u003c/p>\n\u003cp>Chris: No way. That’s all we’ve been doing, I’m at the point now where I’m writing jokes for after Covid because I’m like, OK, these jokes are gonna be relevant until we all get out of it. And then maybe for a month after. You know it’s funny like I’m running into comedians who are scared to do these shows and they’re like, “I don’t want to do this show. It doesn’t feel like comedy.” I’m like, well, maybe you’re not a comedian? I don’t know. (Laughs)\u003c/p>\n\u003cp>\u003cem>Pen: I know a large part of comedy interaction with the crowd. Since you don’t have that crowd to interact with, how do you do comedy?\u003c/em>\u003c/p>\n\u003cp>Chris: When I’m on Facebook Live or Instagram Live, I get the computer or the phone real close to me and I just read the comments, because people are responding. And then when they hear \u003cem>you\u003c/em> respond, then they’re like, he’s responding to me! And then they’re sharing it with other people. It’s more personable.\u003c/p>\n\u003cp>Zoom was a whole other level because I could see people’s faces. So I was like roasting people in their house. Like, I had one dude get up and show me his house so I could roast his house. I was like, walk around your house so I could roast your house, you know? It was fun. And I think everybody enjoyed it.\u003c/p>\n\u003cp>\u003cem>Pen: In doing these online performances where you don’t have the crowd in front of you. How do you know that your jokes are even landing with them?\u003c/em>\u003c/p>\n\u003cp>Chris: When you’re watching, emojis are going up and you know, the heart’s going on, the laughter is going up. So you can see that. And then on Zoom, you can hear the people, they actually can turn their mics on. It’s the best time to be quarantined because we have the most technology just to communicate.\u003c/p>\n\u003cp>The future of anything is adaptation. I mean, like I can admit, I was one of those standup comedians that was like, “I don’t like these Instagram comedians, I don’t like these YouTube guys.” Just because they’re editing their jokes. They got 20 takes and they’re editing it, where I’m going on stage and I got one take to say this joke right in front of a crowd of 2000 people or it’s gonna be bad. You know.\u003c/p>\n\u003cp>[[Coronavirus]] is making you adapt your material because the material \u003cem>has\u003c/em> to be funny now. It’s weeding out the people who are making it on energy. Now, it’s like, oh, are you funny? Because I can’t say nothing back to you. So you better hope I’m laughing.\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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"content": "\u003cp>What do you do if you’re a college senior with a sense of humor, a canceled graduation and, suddenly, a lot of spare time?\u003c/p>\n\u003cp>On March 15, UC Berkeley student Bjorn Lustic got the idea to recreate the graduation in Minecraft, a video game where the objective is to build structures by placing blocks around a 3D environment. He cites a sarcastic Facebook comment as the source of inspiration. A month, a few more Facebook posts and several thousand likes later, \u003ca href=\"https://www.facebook.com/events/244292959939686/\" target=\"_blank\" rel=\"noopener noreferrer\">the project\u003c/a> has grown into a full-scale recreation of the UC Berkeley campus with a waiting list of students trying to get in on the fun of construction.\u003c/p>\n\u003cp>When IRL events started to disappear around campus, students, like everyone else, turned to the internet. “It’s kind of a natural thing at this point to look online and look to virtual communities to hang out, that’s what we’re used to,” Lustic says.\u003c/p>\n\u003cfigure id=\"attachment_13879041\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Building_1200.jpg\" alt=\"\" width=\"1200\" height=\"760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-1020x646.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Users at work building ‘Blockeley University.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minecraft, owned by Microsoft, is a simple way for people to build digital structures, even for those without a background in engineering or architecture, but it’s also sentimental for people who grew up playing the game. “This game already has had a really big impact on our lives and our social interactions,” Lustic says. “I’ve been hanging out with friends on servers for like eight, nine years. Being able to do this in another school, another place, it brings back a lot of memories of being at home with friends.”\u003c/p>\n\u003cp>Lustic initially started working on the plan to build Memorial Stadium with his friend Hunter Hall. When they realized the two of them weren’t going to be able to complete the project by themselves, they posted in the Facebook group Overheard at UC Berkeley. A small but steady stream of students offered to help until early April, when one of their Facebook posts spread across the platform. “I guess we were shell shocked—at least I was,” says Hall of the overwhelming response. “I woke up at noon, and I was like, ‘Either something really good or something really bad has happened.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The project previously had about ten people organizing on a Discord server. As news spread, over 500 students began applying to help use satellite data to create a 1-1 scale model of not just UC Berkeley landmarks, but the whole school. “Our intention was never to build the entire campus,” says Hall. “We were expecting maybe a few dozen, at most maybe a hundred people to get a fun Minecraft graduation party for whoever was interested. It’s certainly grown and been self-sustaining since then.” The organizers are slowly building permissions to allow access for those who want to help.\u003c/p>\n\u003cfigure id=\"attachment_13879043\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Field.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Minecraft version of Memorial Stadium, where graduation ceremonies were scheduled to take place on May 16. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hall and Lustic started with Memorial Stadium, where their graduation would have taken place on May 16. They worked on building the field and outlining bigger structures, but they also added details specific to their own Berkeley experiences. Both of them are former members of the Cal rowing team and trained in a storage area of the stadium.\u003c/p>\n\u003cp>“I rebuilt [the storage area] one night, and Hunter walks in and he’s like ‘Wow, it feels like I’m almost there,” says Lustic. “It’s really weird how the 1-1 ratio in Minecraft can bring a mental presence to actually being there. It resurfaces a lot of emotions that wouldn’t have really come up unless you actually went to that exact place.”\u003c/p>\n\u003cp>Fellow seniors Nick Pickett and Elliot Choi joined the project through one of the earlier Facebook posts on Overheard. A member of the Cal band, Pickett has his own special relationship to Memorial Stadium—specifically North Tunnel, where the band spends a lot of time before games.\u003c/p>\n\u003cp>“When I first logged on, I was kind of taken aback by how gorgeous the stadium was, because it’s freakishly accurate,” says Pickett. “But as I’m walking towards North Tunnel, I’m like, ‘Wait, this isn’t right.’” He then spent hours recreating the tunnel by referencing photos from his four years in the band. “It was kind of surreal. It was like putting a puzzle together that I already knew what it was supposed to look like,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13879040\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/BandTunnel.jpg\" alt=\"\" width=\"1250\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-1020x1175.jpg 1020w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">North Tunnel, a familiar space to members of the band, recreated from personal memories and photographs. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Minecraft, the act of recreating those spots became a way to share the personal significance of otherwise easily overlooked nooks and crannies on the Berkeley campus. “Going around to the other side where the band and the football team are, I’ve never really walked through there—maybe twice in my life,” says Hall. “So it was cool to meet someone who knows it to a T.”\u003c/p>\n\u003cp>And for all the work they’ve done together, most of the students involved in building a Minecraft campus haven’t actually met one another in real life. “Nick and I have been in classes together for I think, like, the last four years,” says Hall, “but we hadn’t really spoken until we started working together.”\u003c/p>\n\u003cp>Every new person who joins the server adds another layer of unofficial Berkeley history to the project. “Google Images and Google Maps help us figure everything out, but each of us have very distinct memories of very near and dear locations,” says Pickett. “We might have our own personal photos that we can source to really get an accurate representation of campus for as many people as possible.”\u003c/p>\n\u003cp>“The point is to bring people together and have them be in a place that they remember liking and having good memories in during a time that we can’t,” Hall adds.\u003c/p>\n\u003cp>As graduation creeps closer, the group is focused on finishing what they refer to as “Blockeley University” by getting more and more people involved. In a perfect world, they say, the school would partner with them and give everyone who wants to participate a free Minecraft account for graduation day. “Or even Microsoft themselves,” adds Choi.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This post was updated to reflect that Bjorn Lustic and Hunter Hall are former, not current, members of the UC Berkeley rowing team, and that Lustic is not a graduating senior this year. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What do you do if you’re a college senior with a sense of humor, a canceled graduation and, suddenly, a lot of spare time?\u003c/p>\n\u003cp>On March 15, UC Berkeley student Bjorn Lustic got the idea to recreate the graduation in Minecraft, a video game where the objective is to build structures by placing blocks around a 3D environment. He cites a sarcastic Facebook comment as the source of inspiration. A month, a few more Facebook posts and several thousand likes later, \u003ca href=\"https://www.facebook.com/events/244292959939686/\" target=\"_blank\" rel=\"noopener noreferrer\">the project\u003c/a> has grown into a full-scale recreation of the UC Berkeley campus with a waiting list of students trying to get in on the fun of construction.\u003c/p>\n\u003cp>When IRL events started to disappear around campus, students, like everyone else, turned to the internet. “It’s kind of a natural thing at this point to look online and look to virtual communities to hang out, that’s what we’re used to,” Lustic says.\u003c/p>\n\u003cfigure id=\"attachment_13879041\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879041\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Building_1200.jpg\" alt=\"\" width=\"1200\" height=\"760\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-160x101.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-800x507.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-768x486.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Building_1200-1020x646.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Users at work building ‘Blockeley University.’ \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Minecraft, owned by Microsoft, is a simple way for people to build digital structures, even for those without a background in engineering or architecture, but it’s also sentimental for people who grew up playing the game. “This game already has had a really big impact on our lives and our social interactions,” Lustic says. “I’ve been hanging out with friends on servers for like eight, nine years. Being able to do this in another school, another place, it brings back a lot of memories of being at home with friends.”\u003c/p>\n\u003cp>Lustic initially started working on the plan to build Memorial Stadium with his friend Hunter Hall. When they realized the two of them weren’t going to be able to complete the project by themselves, they posted in the Facebook group Overheard at UC Berkeley. A small but steady stream of students offered to help until early April, when one of their Facebook posts spread across the platform. “I guess we were shell shocked—at least I was,” says Hall of the overwhelming response. “I woke up at noon, and I was like, ‘Either something really good or something really bad has happened.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The project previously had about ten people organizing on a Discord server. As news spread, over 500 students began applying to help use satellite data to create a 1-1 scale model of not just UC Berkeley landmarks, but the whole school. “Our intention was never to build the entire campus,” says Hall. “We were expecting maybe a few dozen, at most maybe a hundred people to get a fun Minecraft graduation party for whoever was interested. It’s certainly grown and been self-sustaining since then.” The organizers are slowly building permissions to allow access for those who want to help.\u003c/p>\n\u003cfigure id=\"attachment_13879043\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879043\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/Field.jpg\" alt=\"\" width=\"1200\" height=\"675\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/Field-1020x574.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">A Minecraft version of Memorial Stadium, where graduation ceremonies were scheduled to take place on May 16. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hall and Lustic started with Memorial Stadium, where their graduation would have taken place on May 16. They worked on building the field and outlining bigger structures, but they also added details specific to their own Berkeley experiences. Both of them are former members of the Cal rowing team and trained in a storage area of the stadium.\u003c/p>\n\u003cp>“I rebuilt [the storage area] one night, and Hunter walks in and he’s like ‘Wow, it feels like I’m almost there,” says Lustic. “It’s really weird how the 1-1 ratio in Minecraft can bring a mental presence to actually being there. It resurfaces a lot of emotions that wouldn’t have really come up unless you actually went to that exact place.”\u003c/p>\n\u003cp>Fellow seniors Nick Pickett and Elliot Choi joined the project through one of the earlier Facebook posts on Overheard. A member of the Cal band, Pickett has his own special relationship to Memorial Stadium—specifically North Tunnel, where the band spends a lot of time before games.\u003c/p>\n\u003cp>“When I first logged on, I was kind of taken aback by how gorgeous the stadium was, because it’s freakishly accurate,” says Pickett. “But as I’m walking towards North Tunnel, I’m like, ‘Wait, this isn’t right.’” He then spent hours recreating the tunnel by referencing photos from his four years in the band. “It was kind of surreal. It was like putting a puzzle together that I already knew what it was supposed to look like,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13879040\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879040\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/04/BandTunnel.jpg\" alt=\"\" width=\"1250\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-768x885.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/04/BandTunnel-1020x1175.jpg 1020w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">North Tunnel, a familiar space to members of the band, recreated from personal memories and photographs. \u003ccite>(Courtesy of the artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In Minecraft, the act of recreating those spots became a way to share the personal significance of otherwise easily overlooked nooks and crannies on the Berkeley campus. “Going around to the other side where the band and the football team are, I’ve never really walked through there—maybe twice in my life,” says Hall. “So it was cool to meet someone who knows it to a T.”\u003c/p>\n\u003cp>And for all the work they’ve done together, most of the students involved in building a Minecraft campus haven’t actually met one another in real life. “Nick and I have been in classes together for I think, like, the last four years,” says Hall, “but we hadn’t really spoken until we started working together.”\u003c/p>\n\u003cp>Every new person who joins the server adds another layer of unofficial Berkeley history to the project. “Google Images and Google Maps help us figure everything out, but each of us have very distinct memories of very near and dear locations,” says Pickett. “We might have our own personal photos that we can source to really get an accurate representation of campus for as many people as possible.”\u003c/p>\n\u003cp>“The point is to bring people together and have them be in a place that they remember liking and having good memories in during a time that we can’t,” Hall adds.\u003c/p>\n\u003cp>As graduation creeps closer, the group is focused on finishing what they refer to as “Blockeley University” by getting more and more people involved. In a perfect world, they say, the school would partner with them and give everyone who wants to participate a free Minecraft account for graduation day. “Or even Microsoft themselves,” adds Choi.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"tagline": "True-life supernatural stories",
"info": "",
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