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"slug": "oakland-osa-fashion-show-cuisine-and-couture-restaurants-food",
"title": "Plantain Peels, Sugar and Style: Oakland Teens Weave Food Into Fashion",
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"headTitle": "Plantain Peels, Sugar and Style: Oakland Teens Weave Food Into Fashion | KQED",
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"content": "\u003cp>Two o’clock in the afternoon is a cursed hour at most high schools in America — a time when tired teenagers mentally check out, eager to be anywhere but a classroom. But on a recent Thursday afternoon, Stephanie Verrières’ fashion design class at the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-school-for-the-arts\">Oakland School for the Arts\u003c/a> (OSA) is a vision of happy, controlled chaos.\u003c/p>\n\u003cp>Inside a crowded art studio, clusters of teens drape dresses onto mannequins and hand-sew intricate beadwork onto bodices. Student designers talk shop over the rat-a-tat of multiple sewing machines. Sprawled on the sidewalk just outside the school, girls dye swatches of fabric by dunking them into a bucket of red wine.\u003c/p>\n\u003cp>Meanwhile, the chef at one of Oakland’s trendiest restaurants has dropped in for a visit. He checks in with a student, musing how they might run plantain peels through a tortilla press — and then \u003cem>braid \u003c/em>them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>All this productive energy is in service of the students’ first big project of the year, \u003ca href=\"https://www.visitoakland.com/event/cuisine-and-couture-%7C-oakland-style/34241/\">Cuisine and Couture\u003c/a>, a collaboration between OSA — a public charter school for grades 6–12 located inside the Fox Theater building in downtown Oakland — and Visit Oakland, the city’s tourism bureau. Verrières paired her 20 high school students with 11 of Oakland’s top chefs representing the city’s diverse culinary scene, from trendy, big-name restaurants like Popoca and Parche to longtime community staples like El Huarache Azteca.\u003c/p>\n\u003cp>The students’ task? To create a food-themed high-fashion outfit inspired by their chef’s restaurant.\u003c/p>\n\u003cfigure id=\"attachment_13981871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fashion design teacher Stephanie Verrières poses for a portrait in her classroom at the Oakland School for the Arts . \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 12, Cuisine and Couture will cap off the third annual \u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week\u003c/a> with a fashion show in the Oakland Museum of California’s outdoor garden, featuring OSA student models walking the runway to show off each designer’s work. The chefs will be on hand, too, plying guests with dishes created especially for the occasion. And the tables will be adorned with miniature dresses designed by OSA middle school students, inspired by the participating restaurants.\u003c/p>\n\u003cp>The runway show will conclude weeks of close collaboration between the students and the chefs — of stories, ingredients and even baby photos shared. All told, the event is meant to be a love letter to \u003ca href=\"https://www.kqed.org/arts/13967120/oakland-best-food-city-america-chef-responses\">Oakland’s much-vaunted food scene\u003c/a> and a celebration of the Town’s talented young artists. For many of them, the project has been a way to dive deeply into someone else’s culture — and, in many cases, to make a much deeper connection to their own.\u003c/p>\n\u003ch2>A delicious idea\u003c/h2>\n\u003cp>The Cuisine and Couture project came about when Visit Oakland PR director Renee Roberts approached Verrières with the idea of OSA putting on a fashion show at a food event. As it turns out, Verrières remembered taking part in something similar when she was just starting out as a designer — a 2007 \u003ca href=\"https://www.sfgate.com/style/article/Fundraiser-turns-foodies-into-fashionistas-2537728.php\">fundraising gala\u003c/a> where the runway looks were inspired by some of San Francisco’s most famous restaurants.\u003c/p>\n\u003cp>Paired with legendary French chef Hubert Keller, Verrières and her design partner created an elaborate evening gown with black-eyed peas and red peppercorns on the bodice, as an homage to Keller’s now-closed flagship restaurant, Fleur de Lys. To represent the tequila lounge Tres Agaves (which has also since closed), they designed a cocktail dress made out of lime rinds and tequila labels.\u003c/p>\n\u003cfigure id=\"attachment_13981591\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Verrières supervises students \u003cspan style=\"font-weight: 400\">Isadora Oznowicz (left) and Sadie McMahon\u003c/span> as they use red wine to dye fabric. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me as a designer, it was such a great opportunity to get out of my own world and get into someone else’s,” Verrières recalls.\u003c/p>\n\u003cp>When Verrières pitched an Oakland-centric version of the event featuring designs by OSA students, Roberts was sold — and so were all of the chefs she spoke to. Within a day, she lined up all 11 restaurants to participate. “That moment for the designers to see their fashion parading down that runway is going to be magical,” she says. “People not from Oakland will see it and fall in love with Oakland.”\u003c/p>\n\u003cp>Now in her third year at OSA, Verrières first pursued a career in fashion in the early aughts. \u003ca href=\"https://www.verrieressako.com/aboutus\">Verrières & Sako\u003c/a>, the Oakland-based label she co-founded, has won awards and dressed celebrities for major \u003ca href=\"https://www.instagram.com/p/C3D-IFsy8Q-/?hl=en\">red carpet events\u003c/a>, including \u003ca href=\"https://www.instagram.com/luzpenatv/reel/C4ZmwpoLsGv/\">the Oscars\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13981590\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rolls of fabric in OSA’s cozy but well-stocked fashion design studio. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I started out, fashion was still a thing. It was hot, and there were still a lot of great opportunities,” Verrières says. Now, fabric stores across the Bay Area are closing down, and clothing manufacturers and fashion designers are all leaving the region.\u003c/p>\n\u003cp>So while she’s still active as a designer herself, Verrières leapt at the opportunity to become the chair of OSA’s fashion program, and to help nurture the Bay Area’s next generation of homegrown talent — though the majority of her students don’t wind up going into the fashion industry.\u003c/p>\n\u003cp>But at a time when \u003ca href=\"https://calmatters.org/commentary/2022/02/arts-education-is-woefully-underfunded-in-california-schools/\">budget cuts\u003c/a> have \u003ca href=\"https://edsource.org/2022/addressing-the-crisis-in-arts-and-music-education-in-california/664798\">decimated arts education\u003c/a> at many public schools in the Bay Area, it’s a rare luxury for OSA students to be able to spend two and a half hours a day, four days a week, pursuing their chosen artistic path, whether it be vocal music, audio engineering or set design.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.oakarts.org/ARTS-PATHWAYS/DESIGN-VISUAL-MEDIA-ARTS/Fashion-Design/\">fashion design track\u003c/a> is in particularly high demand. The school no longer uses an audition-based enrollment process, but Verrières’ classroom simply isn’t big enough to support more than 20 young designers. The waitlist is over 200 students long.\u003c/p>\n\u003ch2>Food as fashion and fashion as food\u003c/h2>\n\u003cp>There is, it turns out, a long history of food-inspired fashion. A 2023 retrospective on the trend, \u003ca href=\"https://www.fitnyc.edu/museum/exhibitions/food-and-fashion/index.php\">\u003cem>Food & Fashion\u003c/em>\u003c/a> at New York’s Museum at FIT, included a gloriously unhinged \u003ca href=\"https://www.instagram.com/p/CyDn8ZwurkU/\">corn cob hat\u003c/a> (a hot look in 1941, apparently) by legendary Chicago milliner Bes-Ben, a \u003ca href=\"https://fashionmuseum.fitnyc.edu/objects/83856/dress?ctx=a9d69b2303bff40e33a4de6c0749b0a4b1d0d3ea&idx=19\">Baby Ruth candy bar–themed\u003c/a> disposable paper dress from 1968, an ’80s-era \u003ca href=\"https://www.flickr.com/photos/museumatfit/52972304156/in/album-72177720309029985\">edible string bikini\u003c/a>, and a Surrealist \u003ca href=\"https://www.flickr.com/photos/museumatfit/53199573328/in/album-72177720309029985\">fried-egg dress\u003c/a> with a baguette headpiece, like something out of \u003cem>Alice in Wonderland\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=efTLpRGkrC0\">Salon du Chocolat\u003c/a>, an annual Parisian trade expo for chocolatiers, includes a runway show with edible couture outfits made almost entirely \u003ca href=\"https://www.amusingplanet.com/2012/03/edible-dresses-made-from-chocolate-at.html\">out of chocolate\u003c/a>. And many of the fashion world’s most prominent designers were notorious foodies in their day. Famously, Karl Lagerfeld once staged a big \u003ca href=\"https://www.theguardian.com/fashion/fashion-blog/2014/mar/04/supermarket-karl-lagerfeld-chanel-collection-paris\">Chanel runway show\u003c/a> inside a (fake) supermarket. Christian Dior even \u003ca href=\"https://www.vogue.com/article/dior-cookbook-recipes-plaza-athenee-paris\">wrote a whole cookbook\u003c/a>. (“I know lots of recipes, and, who knows, one day I might need something to fall back on,” \u003ca href=\"https://www.nytimes.com/2002/08/18/magazine/the-last-temptation-of-christian.html\">he once mused\u003c/a>. “We could do a Dior ham or a Dior roast beef, perhaps?”)\u003c/p>\n\u003cfigure id=\"attachment_13981868\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beatrice Hunt (left) and Luxmi Chakrabarti work on a hoop dress inspired by the circular shape of traditional Ethiopian baskets and injera. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, Oakland’s Cuisine and Couture is part of a long lineage. And what Verrières’ students are learning is that the worlds of food and fashion intersect much more than they might have expected. Both deal with texture, building layers, engaging multiple senses. (“The chefs were so impressed that my students knew the term ‘ombre,’” Verrières recalls.) Both require a whole toolbox of technical skills.\u003c/p>\n\u003cp>And though some people will never see both food and fashion as anything more than purely utilitarian — generic business casual khakis, or a fast food burger that fills you up — they can also be powerful instruments of storytelling.\u003c/p>\n\u003cp>As participating chef Michele McQueen of Town Fare puts it, “Fashion is obviously an expression of art, but the feeling that goes into why you made these pair of pants or this dress — what you were trying to evoke, what were you trying to make people feel when they see it. That’s the same as what we’re trying to make people feel when they eat our food.”[aside postID=arts_13981754 hero='https://ww2.kqed.org/app/uploads/sites/2/2020/03/RyanNicoleAustin_COVER.jpg']The highlight of the project, then, has been the rich conversations between the students and chefs. “[The chefs are] showing childhood art that they did, where they like to shop, how they plate their food,” Verrières says. “[The students are] getting history lessons. Like, ‘Oh, this is a curry leaf.’ ‘This is what turmeric is.’ It’s so much more than just a lesson in fashion.”\u003c/p>\n\u003cp>The students have translated these food talks into their designs in a variety of ways. Sophomores Isadora Oznowicz and Sadie McMahon were taken with the pink napkins at Mama Oakland — and since the Italian restaurant is known for its wine selection, they decided to dip pieces of fabric into red wine. They came out just the right shade of pink.\u003c/p>\n\u003cp>Senior Annabella Ventresco and junior Mila Rukavina, meanwhile, visited pastry chefs Monique and Paul Feybesse at their new Oakland bakery, Tarts de Feybesse, for an impromptu lesson in how to pipe pastry cream — a technique they’ll use to incorporate pipeable whipped clay in their design. Their garment is a scalloped, tiered skirt topped with sugar on the edges — “very Marie Antoinette,” Verrières says.\u003c/p>\n\u003cp>“There are currently 17 layers in the skirt alone, and so that’s kind of in reference to the way they make the pastries,” Ventresco explains.\u003c/p>\n\u003cfigure id=\"attachment_13981584\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Ventresco (left) and Mila Rukavina sew details onto the pastry shop–inspired dress they are collaborating on. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yes, there will — hopefully — be braided plantain peels, inspired by the Colombian restaurant Parche, though ninth grader Luxmi Chakrabarti notes that the plantains are still undergoing some research and development. The idea, however, will be to turn the peels into little decorative elements that she’ll attach to the top of the dress.\u003c/p>\n\u003cp>For some of Verrières’ students, the collaborations mean diving headfirst into cultures completely different from their own. Before she paired up with Mela Bistro chef Adiam Tsegaye, 9th grader Beatrice Hunt had never eaten \u003ca href=\"https://www.kqed.org/arts/13978846/new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland\">Ethiopian food\u003c/a>.\u003c/p>\n\u003cp>Now, after multiple visits to the restaurant, she loves the cuisine and the way the tangy injera complements the colorful stews. Her design is a hoop skirt inspired by the fact that Ethiopian food is served in a circle — circular baskets, as well as the rounds of injera. The outside of the skirt is made entirely out of circular placemats, which she’s hand-dyed with beet juice and turmeric.\u003c/p>\n\u003cp>But perhaps the most rewarding part of the project is the way it has given many of the students an opportunity to connect with their \u003cem>own\u003c/em> identity and heritage in a meaningful way.\u003c/p>\n\u003cfigure id=\"attachment_13981583\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner and chef of Town Fare Cafe, Michele McQueen (left) records a video with OSA senior Olu Thomas. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olu Thomas, a senior, says he immediately gravitated toward Town Fare and its chef, Michele McQueen, who, like Thomas, is Black. He’s now translating her restaurant’s story into a sharp-looking suit made out of gray canvas that echoes Town Fare’s Brutalist concrete interior, plus a scarf inspired by its collard greens salad. Rachel Kiechel, also a senior, grew up around Dominican cuisine thanks to her aunt, so she was excited to work with Nelson German at alaMar — to chart, through her design, the chef’s journey from the Dominican Republic to New York to the Bay.\u003c/p>\n\u003cp>Kylie Didrickson, a ninth grader and fourth-year OSA fashion design student, partnered with Crystal Wahpepah after learning that the chef’s Fruitvale business, \u003ca href=\"https://www.kqed.org/arts/13903531/wahpepahs-kitchen-fruitvale-indigenous-restaurant\">Wahpepah’s Kitchen\u003c/a>, was the first Indigenous restaurant to open in Oakland. Didrickson is part Indigenous herself — her father, who is Alaskan Native, went to the same after-school program at Oakland’s Intertribal Friendship House that Wahpepah attended while growing up.\u003c/p>\n\u003cp>When Didrickson saw the all-Native menu at Wahpepah’s Kitchen, she says, “It felt so bold, and almost like it was meant for me in a way.”\u003c/p>\n\u003cp>During their first meeting, the chef told Didrickson stories about the time she’d traveled to Alaska to eat whale meat with the Native people there. She suggested ingredients that Didrickson might incorporate into the garment: berries, dried beans and mini violas, a purple edible flower that Wahpepah sources from a Native-owned farm in Oregon. A member of the Kickapoo Tribe of Oklahoma, Wahpepah says she mostly encouraged Didrickson to emphasize her cuisine’s vibrant colors.\u003c/p>\n\u003cfigure id=\"attachment_13981869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ninth grade student Kylie Didrickson’s design is inspired by chef Crystal Wahpepah’s Native heritage — as well as her own. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, when Didrickson looked around the restaurant, she kept seeing things that reminded her of the Native women in her family. The mural of a Kickapoo woman wearing a traditional, bright purple dress became the inspiration for the top Didrickson is designing. But it also made her think about the photo of her grandmother she keeps on her refrigerator. “I never got to meet her, but I always thought she was so pretty,” she says. Why not incorporate the long red dress and orange ribbons that Didrickson’s grandma wears in the photo into her design as well?\u003c/p>\n\u003cp>Didrickson has been passionate about fashion and makeup for as long as she can remember, but because she didn’t know of any Native designers, she never really thought about expressing that part of her identity in her art.\u003c/p>\n\u003cp>Now, she says, “I feel like whatever I do in life, I want to incorporate some of myself in it. I want to add a part of myself into every piece I make.”\u003c/p>\n\u003ch2>A two-way collaboration\u003c/h2>\n\u003cp>As much as the students have found inspiration from the chefs, the effect has been reciprocal. Paul Iglesias and Sophia Akbar, the husband-and-wife team behind Parche and Jaji, have even found themselves tweaking their menu for the Cuisine and Couture gala in response to their students’ evolving designs.\u003c/p>\n\u003cp>Iglesias, for instance, saw that his student collaborator, Chakrabarti, was inspired to incorporate the look of a sorbet she’d eaten at Parche into the design of her colorful blue and red dress. Now he’s thinking about perhaps adding a savory sorbet element to the dish he’ll be serving. Akbar, whose contemporary Afghan restaurant Jaji opened earlier this year, decided to adjust her dish after seeing how much dried fruit her student had incorporated into her piece.\u003c/p>\n\u003cfigure id=\"attachment_13981587\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Parche chef Paul Iglesias (left) checks out ninth grader Luxmi Chakrabarti’s mood board. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s art at its purest,” Iglesias says of the way designers and chefs, students and mentors, are coming together to create something magical that will exist only for that moment — one bite, one stroll down the runway.\u003c/p>\n\u003cp>Or, as Akbar puts it, “It’s a lot more of an interesting pairing than talking to your typical winemaker.”\u003c/p>\n\u003cp>And of course, as an event put on by the tourism bureau, Cuisine and Couture is meant to be a platform to show Oakland in the best possible light, at a time when news headlines about the city are often bleak. alaMar’s German says he has been so impressed by the wealth of creative, talented artists at OSA. For him, the food and fashion event will be proof that “Oakland is not hopeless.”\u003c/p>\n\u003cp>“There’s so much still here that’s positive and beautiful,” he says. “And now it’s our time to really shine.”\u003c/p>\n\u003cfigure id=\"attachment_13981586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">aLamar chef Nelson German (left) and 12th grade OSA student Ruby Kiechel discuss Kiechel’s design.. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the project’s richly textured, multidimensional aspect that makes the project feel especially Oakland to Verrières — the way that so many different neighborhoods and food genres are represented, and how her students have peeled back so many layers of culture and history and cuisine. “You couldn’t do this in San Francisco,” she says, laughing.\u003c/p>\n\u003cp>In just a couple of weeks, Verrières hopes everyone in Oakland who loves food, culture and creativity will come out to see what her students have made with their own two hands. The gasps of delight when a model walks out wearing a dress made of corn husks, or sugar, or spray-painted pasta. The poignant moment when each pair of chefs and student designers walks down the makeshift runway together, side by side. The way, perhaps, the whole Town will rise to its feet to give them their flowers.\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://www.visitoakland.com/oakland-style/cuisine-couture/\">\u003cem>Cuisine and Couture\u003c/em>\u003c/a>\u003cem> will take place on Sunday, Oct. 12, from 11:30 a.m.–1:30 p.m., at the Oakland Museum of California (1000 Oak St., Oakland). \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/cuisine-and-couture-tickets-1530841571349\">\u003cem>Tickets\u003c/em>\u003c/a>\u003cem> ($25–$75) are available online until sold out.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two o’clock in the afternoon is a cursed hour at most high schools in America — a time when tired teenagers mentally check out, eager to be anywhere but a classroom. But on a recent Thursday afternoon, Stephanie Verrières’ fashion design class at the \u003ca href=\"https://www.kqed.org/arts/tag/oakland-school-for-the-arts\">Oakland School for the Arts\u003c/a> (OSA) is a vision of happy, controlled chaos.\u003c/p>\n\u003cp>Inside a crowded art studio, clusters of teens drape dresses onto mannequins and hand-sew intricate beadwork onto bodices. Student designers talk shop over the rat-a-tat of multiple sewing machines. Sprawled on the sidewalk just outside the school, girls dye swatches of fabric by dunking them into a bucket of red wine.\u003c/p>\n\u003cp>Meanwhile, the chef at one of Oakland’s trendiest restaurants has dropped in for a visit. He checks in with a student, musing how they might run plantain peels through a tortilla press — and then \u003cem>braid \u003c/em>them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>All this productive energy is in service of the students’ first big project of the year, \u003ca href=\"https://www.visitoakland.com/event/cuisine-and-couture-%7C-oakland-style/34241/\">Cuisine and Couture\u003c/a>, a collaboration between OSA — a public charter school for grades 6–12 located inside the Fox Theater building in downtown Oakland — and Visit Oakland, the city’s tourism bureau. Verrières paired her 20 high school students with 11 of Oakland’s top chefs representing the city’s diverse culinary scene, from trendy, big-name restaurants like Popoca and Parche to longtime community staples like El Huarache Azteca.\u003c/p>\n\u003cp>The students’ task? To create a food-themed high-fashion outfit inspired by their chef’s restaurant.\u003c/p>\n\u003cfigure id=\"attachment_13981871\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981871\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02671_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Fashion design teacher Stephanie Verrières poses for a portrait in her classroom at the Oakland School for the Arts . \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Oct. 12, Cuisine and Couture will cap off the third annual \u003ca href=\"https://www.visitoakland.com/oakland-style/\">Oakland Style Week\u003c/a> with a fashion show in the Oakland Museum of California’s outdoor garden, featuring OSA student models walking the runway to show off each designer’s work. The chefs will be on hand, too, plying guests with dishes created especially for the occasion. And the tables will be adorned with miniature dresses designed by OSA middle school students, inspired by the participating restaurants.\u003c/p>\n\u003cp>The runway show will conclude weeks of close collaboration between the students and the chefs — of stories, ingredients and even baby photos shared. All told, the event is meant to be a love letter to \u003ca href=\"https://www.kqed.org/arts/13967120/oakland-best-food-city-america-chef-responses\">Oakland’s much-vaunted food scene\u003c/a> and a celebration of the Town’s talented young artists. For many of them, the project has been a way to dive deeply into someone else’s culture — and, in many cases, to make a much deeper connection to their own.\u003c/p>\n\u003ch2>A delicious idea\u003c/h2>\n\u003cp>The Cuisine and Couture project came about when Visit Oakland PR director Renee Roberts approached Verrières with the idea of OSA putting on a fashion show at a food event. As it turns out, Verrières remembered taking part in something similar when she was just starting out as a designer — a 2007 \u003ca href=\"https://www.sfgate.com/style/article/Fundraiser-turns-foodies-into-fashionistas-2537728.php\">fundraising gala\u003c/a> where the runway looks were inspired by some of San Francisco’s most famous restaurants.\u003c/p>\n\u003cp>Paired with legendary French chef Hubert Keller, Verrières and her design partner created an elaborate evening gown with black-eyed peas and red peppercorns on the bodice, as an homage to Keller’s now-closed flagship restaurant, Fleur de Lys. To represent the tequila lounge Tres Agaves (which has also since closed), they designed a cocktail dress made out of lime rinds and tequila labels.\u003c/p>\n\u003cfigure id=\"attachment_13981591\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981591\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02786_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Verrières supervises students \u003cspan style=\"font-weight: 400\">Isadora Oznowicz (left) and Sadie McMahon\u003c/span> as they use red wine to dye fabric. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“For me as a designer, it was such a great opportunity to get out of my own world and get into someone else’s,” Verrières recalls.\u003c/p>\n\u003cp>When Verrières pitched an Oakland-centric version of the event featuring designs by OSA students, Roberts was sold — and so were all of the chefs she spoke to. Within a day, she lined up all 11 restaurants to participate. “That moment for the designers to see their fashion parading down that runway is going to be magical,” she says. “People not from Oakland will see it and fall in love with Oakland.”\u003c/p>\n\u003cp>Now in her third year at OSA, Verrières first pursued a career in fashion in the early aughts. \u003ca href=\"https://www.verrieressako.com/aboutus\">Verrières & Sako\u003c/a>, the Oakland-based label she co-founded, has won awards and dressed celebrities for major \u003ca href=\"https://www.instagram.com/p/C3D-IFsy8Q-/?hl=en\">red carpet events\u003c/a>, including \u003ca href=\"https://www.instagram.com/luzpenatv/reel/C4ZmwpoLsGv/\">the Oscars\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13981590\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981590\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02718_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Rolls of fabric in OSA’s cozy but well-stocked fashion design studio. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“When I started out, fashion was still a thing. It was hot, and there were still a lot of great opportunities,” Verrières says. Now, fabric stores across the Bay Area are closing down, and clothing manufacturers and fashion designers are all leaving the region.\u003c/p>\n\u003cp>So while she’s still active as a designer herself, Verrières leapt at the opportunity to become the chair of OSA’s fashion program, and to help nurture the Bay Area’s next generation of homegrown talent — though the majority of her students don’t wind up going into the fashion industry.\u003c/p>\n\u003cp>But at a time when \u003ca href=\"https://calmatters.org/commentary/2022/02/arts-education-is-woefully-underfunded-in-california-schools/\">budget cuts\u003c/a> have \u003ca href=\"https://edsource.org/2022/addressing-the-crisis-in-arts-and-music-education-in-california/664798\">decimated arts education\u003c/a> at many public schools in the Bay Area, it’s a rare luxury for OSA students to be able to spend two and a half hours a day, four days a week, pursuing their chosen artistic path, whether it be vocal music, audio engineering or set design.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.oakarts.org/ARTS-PATHWAYS/DESIGN-VISUAL-MEDIA-ARTS/Fashion-Design/\">fashion design track\u003c/a> is in particularly high demand. The school no longer uses an audition-based enrollment process, but Verrières’ classroom simply isn’t big enough to support more than 20 young designers. The waitlist is over 200 students long.\u003c/p>\n\u003ch2>Food as fashion and fashion as food\u003c/h2>\n\u003cp>There is, it turns out, a long history of food-inspired fashion. A 2023 retrospective on the trend, \u003ca href=\"https://www.fitnyc.edu/museum/exhibitions/food-and-fashion/index.php\">\u003cem>Food & Fashion\u003c/em>\u003c/a> at New York’s Museum at FIT, included a gloriously unhinged \u003ca href=\"https://www.instagram.com/p/CyDn8ZwurkU/\">corn cob hat\u003c/a> (a hot look in 1941, apparently) by legendary Chicago milliner Bes-Ben, a \u003ca href=\"https://fashionmuseum.fitnyc.edu/objects/83856/dress?ctx=a9d69b2303bff40e33a4de6c0749b0a4b1d0d3ea&idx=19\">Baby Ruth candy bar–themed\u003c/a> disposable paper dress from 1968, an ’80s-era \u003ca href=\"https://www.flickr.com/photos/museumatfit/52972304156/in/album-72177720309029985\">edible string bikini\u003c/a>, and a Surrealist \u003ca href=\"https://www.flickr.com/photos/museumatfit/53199573328/in/album-72177720309029985\">fried-egg dress\u003c/a> with a baguette headpiece, like something out of \u003cem>Alice in Wonderland\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.youtube.com/watch?v=efTLpRGkrC0\">Salon du Chocolat\u003c/a>, an annual Parisian trade expo for chocolatiers, includes a runway show with edible couture outfits made almost entirely \u003ca href=\"https://www.amusingplanet.com/2012/03/edible-dresses-made-from-chocolate-at.html\">out of chocolate\u003c/a>. And many of the fashion world’s most prominent designers were notorious foodies in their day. Famously, Karl Lagerfeld once staged a big \u003ca href=\"https://www.theguardian.com/fashion/fashion-blog/2014/mar/04/supermarket-karl-lagerfeld-chanel-collection-paris\">Chanel runway show\u003c/a> inside a (fake) supermarket. Christian Dior even \u003ca href=\"https://www.vogue.com/article/dior-cookbook-recipes-plaza-athenee-paris\">wrote a whole cookbook\u003c/a>. (“I know lots of recipes, and, who knows, one day I might need something to fall back on,” \u003ca href=\"https://www.nytimes.com/2002/08/18/magazine/the-last-temptation-of-christian.html\">he once mused\u003c/a>. “We could do a Dior ham or a Dior roast beef, perhaps?”)\u003c/p>\n\u003cfigure id=\"attachment_13981868\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981868\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02180_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Beatrice Hunt (left) and Luxmi Chakrabarti work on a hoop dress inspired by the circular shape of traditional Ethiopian baskets and injera. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In that way, Oakland’s Cuisine and Couture is part of a long lineage. And what Verrières’ students are learning is that the worlds of food and fashion intersect much more than they might have expected. Both deal with texture, building layers, engaging multiple senses. (“The chefs were so impressed that my students knew the term ‘ombre,’” Verrières recalls.) Both require a whole toolbox of technical skills.\u003c/p>\n\u003cp>And though some people will never see both food and fashion as anything more than purely utilitarian — generic business casual khakis, or a fast food burger that fills you up — they can also be powerful instruments of storytelling.\u003c/p>\n\u003cp>As participating chef Michele McQueen of Town Fare puts it, “Fashion is obviously an expression of art, but the feeling that goes into why you made these pair of pants or this dress — what you were trying to evoke, what were you trying to make people feel when they see it. That’s the same as what we’re trying to make people feel when they eat our food.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The highlight of the project, then, has been the rich conversations between the students and chefs. “[The chefs are] showing childhood art that they did, where they like to shop, how they plate their food,” Verrières says. “[The students are] getting history lessons. Like, ‘Oh, this is a curry leaf.’ ‘This is what turmeric is.’ It’s so much more than just a lesson in fashion.”\u003c/p>\n\u003cp>The students have translated these food talks into their designs in a variety of ways. Sophomores Isadora Oznowicz and Sadie McMahon were taken with the pink napkins at Mama Oakland — and since the Italian restaurant is known for its wine selection, they decided to dip pieces of fabric into red wine. They came out just the right shade of pink.\u003c/p>\n\u003cp>Senior Annabella Ventresco and junior Mila Rukavina, meanwhile, visited pastry chefs Monique and Paul Feybesse at their new Oakland bakery, Tarts de Feybesse, for an impromptu lesson in how to pipe pastry cream — a technique they’ll use to incorporate pipeable whipped clay in their design. Their garment is a scalloped, tiered skirt topped with sugar on the edges — “very Marie Antoinette,” Verrières says.\u003c/p>\n\u003cp>“There are currently 17 layers in the skirt alone, and so that’s kind of in reference to the way they make the pastries,” Ventresco explains.\u003c/p>\n\u003cfigure id=\"attachment_13981584\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981584\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02336_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Annabella Ventresco (left) and Mila Rukavina sew details onto the pastry shop–inspired dress they are collaborating on. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And yes, there will — hopefully — be braided plantain peels, inspired by the Colombian restaurant Parche, though ninth grader Luxmi Chakrabarti notes that the plantains are still undergoing some research and development. The idea, however, will be to turn the peels into little decorative elements that she’ll attach to the top of the dress.\u003c/p>\n\u003cp>For some of Verrières’ students, the collaborations mean diving headfirst into cultures completely different from their own. Before she paired up with Mela Bistro chef Adiam Tsegaye, 9th grader Beatrice Hunt had never eaten \u003ca href=\"https://www.kqed.org/arts/13978846/new-ethiopian-eritrean-restaurants-bay-area-san-francisco-oakland\">Ethiopian food\u003c/a>.\u003c/p>\n\u003cp>Now, after multiple visits to the restaurant, she loves the cuisine and the way the tangy injera complements the colorful stews. Her design is a hoop skirt inspired by the fact that Ethiopian food is served in a circle — circular baskets, as well as the rounds of injera. The outside of the skirt is made entirely out of circular placemats, which she’s hand-dyed with beet juice and turmeric.\u003c/p>\n\u003cp>But perhaps the most rewarding part of the project is the way it has given many of the students an opportunity to connect with their \u003cem>own\u003c/em> identity and heritage in a meaningful way.\u003c/p>\n\u003cfigure id=\"attachment_13981583\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981583\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02324_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Owner and chef of Town Fare Cafe, Michele McQueen (left) records a video with OSA senior Olu Thomas. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Olu Thomas, a senior, says he immediately gravitated toward Town Fare and its chef, Michele McQueen, who, like Thomas, is Black. He’s now translating her restaurant’s story into a sharp-looking suit made out of gray canvas that echoes Town Fare’s Brutalist concrete interior, plus a scarf inspired by its collard greens salad. Rachel Kiechel, also a senior, grew up around Dominican cuisine thanks to her aunt, so she was excited to work with Nelson German at alaMar — to chart, through her design, the chef’s journey from the Dominican Republic to New York to the Bay.\u003c/p>\n\u003cp>Kylie Didrickson, a ninth grader and fourth-year OSA fashion design student, partnered with Crystal Wahpepah after learning that the chef’s Fruitvale business, \u003ca href=\"https://www.kqed.org/arts/13903531/wahpepahs-kitchen-fruitvale-indigenous-restaurant\">Wahpepah’s Kitchen\u003c/a>, was the first Indigenous restaurant to open in Oakland. Didrickson is part Indigenous herself — her father, who is Alaskan Native, went to the same after-school program at Oakland’s Intertribal Friendship House that Wahpepah attended while growing up.\u003c/p>\n\u003cp>When Didrickson saw the all-Native menu at Wahpepah’s Kitchen, she says, “It felt so bold, and almost like it was meant for me in a way.”\u003c/p>\n\u003cp>During their first meeting, the chef told Didrickson stories about the time she’d traveled to Alaska to eat whale meat with the Native people there. She suggested ingredients that Didrickson might incorporate into the garment: berries, dried beans and mini violas, a purple edible flower that Wahpepah sources from a Native-owned farm in Oregon. A member of the Kickapoo Tribe of Oklahoma, Wahpepah says she mostly encouraged Didrickson to emphasize her cuisine’s vibrant colors.\u003c/p>\n\u003cfigure id=\"attachment_13981869\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981869\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-teenfashionstudents_02504_TV_qed-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ninth grade student Kylie Didrickson’s design is inspired by chef Crystal Wahpepah’s Native heritage — as well as her own. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, when Didrickson looked around the restaurant, she kept seeing things that reminded her of the Native women in her family. The mural of a Kickapoo woman wearing a traditional, bright purple dress became the inspiration for the top Didrickson is designing. But it also made her think about the photo of her grandmother she keeps on her refrigerator. “I never got to meet her, but I always thought she was so pretty,” she says. Why not incorporate the long red dress and orange ribbons that Didrickson’s grandma wears in the photo into her design as well?\u003c/p>\n\u003cp>Didrickson has been passionate about fashion and makeup for as long as she can remember, but because she didn’t know of any Native designers, she never really thought about expressing that part of her identity in her art.\u003c/p>\n\u003cp>Now, she says, “I feel like whatever I do in life, I want to incorporate some of myself in it. I want to add a part of myself into every piece I make.”\u003c/p>\n\u003ch2>A two-way collaboration\u003c/h2>\n\u003cp>As much as the students have found inspiration from the chefs, the effect has been reciprocal. Paul Iglesias and Sophia Akbar, the husband-and-wife team behind Parche and Jaji, have even found themselves tweaking their menu for the Cuisine and Couture gala in response to their students’ evolving designs.\u003c/p>\n\u003cp>Iglesias, for instance, saw that his student collaborator, Chakrabarti, was inspired to incorporate the look of a sorbet she’d eaten at Parche into the design of her colorful blue and red dress. Now he’s thinking about perhaps adding a savory sorbet element to the dish he’ll be serving. Akbar, whose contemporary Afghan restaurant Jaji opened earlier this year, decided to adjust her dish after seeing how much dried fruit her student had incorporated into her piece.\u003c/p>\n\u003cfigure id=\"attachment_13981587\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02480_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Parche chef Paul Iglesias (left) checks out ninth grader Luxmi Chakrabarti’s mood board. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s art at its purest,” Iglesias says of the way designers and chefs, students and mentors, are coming together to create something magical that will exist only for that moment — one bite, one stroll down the runway.\u003c/p>\n\u003cp>Or, as Akbar puts it, “It’s a lot more of an interesting pairing than talking to your typical winemaker.”\u003c/p>\n\u003cp>And of course, as an event put on by the tourism bureau, Cuisine and Couture is meant to be a platform to show Oakland in the best possible light, at a time when news headlines about the city are often bleak. alaMar’s German says he has been so impressed by the wealth of creative, talented artists at OSA. For him, the food and fashion event will be proof that “Oakland is not hopeless.”\u003c/p>\n\u003cp>“There’s so much still here that’s positive and beautiful,” he says. “And now it’s our time to really shine.”\u003c/p>\n\u003cfigure id=\"attachment_13981586\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13981586\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/09/250918-TEENFASHIONSTUDENTS_02439_TV-KQEd-1536x1024.jpg 1536w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">aLamar chef Nelson German (left) and 12th grade OSA student Ruby Kiechel discuss Kiechel’s design.. \u003ccite>(Tâm Vũ/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s the project’s richly textured, multidimensional aspect that makes the project feel especially Oakland to Verrières — the way that so many different neighborhoods and food genres are represented, and how her students have peeled back so many layers of culture and history and cuisine. “You couldn’t do this in San Francisco,” she says, laughing.\u003c/p>\n\u003cp>In just a couple of weeks, Verrières hopes everyone in Oakland who loves food, culture and creativity will come out to see what her students have made with their own two hands. The gasps of delight when a model walks out wearing a dress made of corn husks, or sugar, or spray-painted pasta. The poignant moment when each pair of chefs and student designers walks down the makeshift runway together, side by side. The way, perhaps, the whole Town will rise to its feet to give them their flowers.\u003c/p>\n\u003chr>\n\u003cp>\u003ca href=\"https://www.visitoakland.com/oakland-style/cuisine-couture/\">\u003cem>Cuisine and Couture\u003c/em>\u003c/a>\u003cem> will take place on Sunday, Oct. 12, from 11:30 a.m.–1:30 p.m., at the Oakland Museum of California (1000 Oak St., Oakland). \u003c/em>\u003ca href=\"https://www.eventbrite.com/e/cuisine-and-couture-tickets-1530841571349\">\u003cem>Tickets\u003c/em>\u003c/a>\u003cem> ($25–$75) are available online until sold out.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "jwalt-love-myself-every-version-of-me-album-oakland",
"title": "For Oakland Rapper Jwalt, One Year of Self-Love Changed Everything",
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"headTitle": "For Oakland Rapper Jwalt, One Year of Self-Love Changed Everything | KQED",
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"content": "\u003cfigure id=\"attachment_13979072\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg\" alt=\"\" width=\"1400\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-768x768.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Jwalt stops in an alley in downtown Oakland to pose for a photo in gear from Oaklandish. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> lyricist \u003ca href=\"https://www.instagram.com/p/DIMxJXIhK21/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a> wrote the song “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself,\u003c/a>” he was in his final semester at NYU.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I was doing \u003cem>a lot\u003c/em> of things,” says the 23-year-old. \u003c/span>\u003cspan style=\"font-weight: 400\">On top of completing a degree, he was traveling and pursuing a music career — dropping bars on popular platforms like \u003ca href=\"https://www.youtube.com/watch?v=ikJfwBUYFSA\" target=\"_blank\" rel=\"noopener\">\u003cem>Sway’s Universe\u003c/em>\u003c/a> and opening for big names like Nas and the Wu-Tang Clan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Jwalt wasn’t taking care of his basic needs. “\u003c/span>\u003cspan style=\"font-weight: 400\">So I started prioritizing my sleep, eating right, taking care of myself,” he says. “That kind of turned into a little mantra.”\u003c/span>\u003c/p>\n\u003cp>That mantra became a song, and when he dropped it last summer it took off. As the video debuted on BET, the track reached #74 on the iTunes Hip-Hop/Rap Songs chart. The song he made to set himself on a better path was resonating with audiences and launching Jwalt’s career into a new era.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13979073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the past 18 months, Jwalt has been on the grind. He graduated from college and moved back to Oakland in the spring of 2024. Earlier this year he got engaged, and now he and his partner are expecting a baby girl.\u003c/p>\n\u003cp>On top of all this, Jwalt just dropped a new album. The project, \u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">\u003cem>Every Version of Me\u003c/em>\u003c/a>, paints an image of a multifaceted human being who knows how to tell a story on wax. He’s a person who studies hip-hop culture and is enmeshed in his Oakland community. He’s navigated all that comes with being a Black man at a prestigious university and managed to learn the most important lesson any student can ever learn: “You only live once, so now I’m living for peace / I meditate and celebrate, ’cause now I’m living for me,” as he says on the album’s lead single.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=819J_xeJwmU\u003c/p>\n\u003cp>Another standout track from the project, “Graduation,” takes the same sincere tone as “Love Myself” as it gives listeners a glimpse into the artist’s life as a student. He addresses imposter syndrome, survivor’s guilt and classism — not to mention being homesick.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I got people back home who’ve never left Oakland, never left the Bay,” he says, reflecting on the sentiment that pushed him to pen the song. “And being able to go to NYU, and walk around in different spaces but not see anyone who looks like me, it was very abnormal.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, Jwalt questioned if he belonged. Now he says it was one of the best decisions he’s ever made. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had a class called ‘The Art of the MC’ [taught] by \u003ca href=\"https://www.kqed.org/arts/13834000/between-the-world-and-black-thought\">Black Thought\u003c/a>,” says Jwalt, adding that he now considers the legendary lead MC of The Roots a mentor. \u003c/span>\u003c/p>\n\u003cp>On his latest album, it’s clear that Jwalt’s education in hip-hop began long before he touched down in NYC. One of his earliest “classmates” in the rap game was rising Bay Area artist \u003ca href=\"https://www.kqed.org/arts/13976638/seiji-oda-ethereal-blap-cupcake-no-fillin-human-nature\" target=\"_blank\" rel=\"noopener\">Seiji Oda\u003c/a>.\u003c/p>\n\u003cp>Jwalt and Oda, who is a few years older, grew up as neighbors, and Jwalt recorded some of his earliest tracks at Oda’s house as a young teen. On \u003cem>Every Version of Me\u003c/em>, the two combine forces on a mobby, bass-heavy track produced by \u003ca href=\"https://www.instagram.com/callmeclaydough/?hl=en\" target=\"_blank\" rel=\"noopener\">ClayDough\u003c/a> called “Bay 2 NY.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve known Seiji for a while,” says Jwalt. “And being able to see him grow has been dope.” \u003c/span>\u003c/p>\n\u003cp>That’s the case for nearly all the album’s features, which include verses from San Francisco rapper and actor \u003ca href=\"https://www.kqed.org/arts/tag/stunnaman02\" target=\"_blank\" rel=\"noopener\">Stunnaman02\u003c/a> and Oakland singer \u003ca href=\"https://www.instagram.com/shante_music/?hl=en\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>. \u003c/p>\n\u003cp>The album also features \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener\">1100 Himself\u003c/a>, \u003ca href=\"https://www.instagram.com/officialyelly/?hl=en\" target=\"_blank\" rel=\"noopener\">Yelly\u003c/a> and\u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\" target=\"_blank\" rel=\"noopener\"> Rexx Life Raj\u003c/a>, but one guest appearance steals the show: an interlude from the late actor \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\" target=\"_blank\" rel=\"noopener\">Angus Cloud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979129\" class=\"wp-caption aligncenter\" style=\"max-width: 1053px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg\" alt=\"\" width=\"1053\" height=\"1580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1053px) 100vw, 1053px\">\u003cfigcaption class=\"wp-caption-text\">Oakland MC Jwalt walks the red carpet at the premiere for the film ‘Freaky Tales.’ \u003ccite>(Azalea Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Angus was one of my biggest supporters,” Jwalt says, opening up about a friendship that grew into a brotherhood. After a chance meeting at an \u003ca href=\"https://www.oaklandsown1852.com/?srsltid=AfmBOorHpfodkg34y2DUJpx9FRDvE10ufkCzOCNueluQG1gKdvFukvWO\" target=\"_blank\" rel=\"noopener\">Oakland’s Own\u003c/a> clothing pop-up in Jack London Square, the two realized they were both graduates, a few years apart, of the Oakland School for the Arts. From there, a friendship blossomed. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We used to talk a lot,” says Jwalt, who has even more archived soundbites from Cloud. “He always encouraged me to keep on going. And when he got his platform he always wanted to share it with other dope artists from Oakland.”\u003c/span>\u003c/p>\n\u003cp>A major component in Jwalt’s young career is how he’s been uplifted by his hometown, individuals and institutions alike.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Y7_pfOCwiqU\u003c/p>\n\u003cp>In just this past year, Jwalt has played in the Reggie Jackson celebrity softball game at the Oakland Coliseum, where he met Oakland A’s legend Rickey Henderson weeks before his untimely passing. He then doubled back to the Coliseum to perform at halftime at \u003ca href=\"https://www.instagram.com/p/DKzzgobpEgj/\" target=\"_blank\" rel=\"noopener\">an Oakland Roots soccer game\u003c/a>.\u003c/p>\n\u003cp>In April, the Oakland Ballers baseball team announced \u003ca href=\"https://www.instagram.com/p/DIAIwcrNuVc/\" target=\"_blank\" rel=\"noopener\">Jwalt as one of its many part-owners\u003c/a> and the author of the team’s new anthem, “\u003ca href=\"https://www.youtube.com/watch?v=Y7_pfOCwiqU\" target=\"_blank\" rel=\"noopener\">Ballers Ballad\u003c/a>.” And last week, the red-haired MC rocked a crowd in front of the baseball stadium during \u003ca href=\"https://www.instagram.com/p/DMGBkyjR_Wq/?img_index=1\" target=\"_blank\" rel=\"noopener\">a community block party\u003c/a>.\u003c/p>\n\u003cp>Next week, on Tuesday, July 29, Jwalt will be the special guest at the \u003ca href=\"https://www.instagram.com/p/DMJAvSlBF__/?img_index=1\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> event hosted by \u003ca href=\"http://instagram.com/CHR1ST1VN/\" target=\"_blank\" rel=\"noopener\">Christian Walker\u003c/a> and \u003ca href=\"https://www.instagram.com/karegabailey/\" target=\"_blank\" rel=\"noopener\">Karega Bailey\u003c/a> at the Black Panther Party Museum in downtown Oakland.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m someone that’s been a proponent of talking about mental health, especially as a young Black man,” says Jwalt, noting that he, too, struggles with anxiety. \u003c/span>\u003c/p>\n\u003cp>But as a multifaceted artist and a parent, a student of hip-hop and a proud representative of the Town, his biggest aspirations are relatively simple: to tell a story that’s true to his lived experience, and it share it with people who can relate.\u003c/p>\n\u003cp>He’s done exactly that with the song “Love Myself,” and he doesn’t plan on stopping anytime soon.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Jwalt’s latest album, ‘\u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">Every Version of Me\u003c/a>,’ is available on all platforms. He speaks at the \u003ca href=\"https://www.instagram.com/menswellnessfellowship/\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> on Tuesday, July 29. \u003ca href=\"https://www.menswellnessfellowship.com/?fbclid=PAZXh0bgNhZW0CMTEAAaeT24lUwDQMX5NpPA6Ffnh_tjALXfjiZ1qrsyPrCK7mMj_b_6TgpoHLIHaPNQ_aem_tO6nLQ7_byGv09S2tBkhlg\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "On ‘Every Version of Me,’ the lyricist gets vulnerable about what it took to set his life on a better path.",
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"title": "For Rapper Jwalt, a Year of Self-Love Changed Everything | KQED",
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"subhead": "The key to J-Walt's recent personal and professional progress? Healthier choices.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13979072\" class=\"wp-caption aligncenter\" style=\"max-width: 1400px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979072\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg\" alt=\"\" width=\"1400\" height=\"1400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5.jpg 1400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-5-768x768.jpg 768w\" sizes=\"auto, (max-width: 1400px) 100vw, 1400px\">\u003cfigcaption class=\"wp-caption-text\">Jwalt stops in an alley in downtown Oakland to pose for a photo in gear from Oaklandish. \u003ccite>(Squint)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a> lyricist \u003ca href=\"https://www.instagram.com/p/DIMxJXIhK21/?img_index=1\" target=\"_blank\" rel=\"noopener\">Jwalt\u003c/a> wrote the song “\u003ca href=\"https://www.youtube.com/watch?v=819J_xeJwmU\" target=\"_blank\" rel=\"noopener\">Love Myself,\u003c/a>” he was in his final semester at NYU.\u003c/p>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I was doing \u003cem>a lot\u003c/em> of things,” says the 23-year-old. \u003c/span>\u003cspan style=\"font-weight: 400\">On top of completing a degree, he was traveling and pursuing a music career — dropping bars on popular platforms like \u003ca href=\"https://www.youtube.com/watch?v=ikJfwBUYFSA\" target=\"_blank\" rel=\"noopener\">\u003cem>Sway’s Universe\u003c/em>\u003c/a> and opening for big names like Nas and the Wu-Tang Clan. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Jwalt wasn’t taking care of his basic needs. “\u003c/span>\u003cspan style=\"font-weight: 400\">So I started prioritizing my sleep, eating right, taking care of myself,” he says. “That kind of turned into a little mantra.”\u003c/span>\u003c/p>\n\u003cp>That mantra became a song, and when he dropped it last summer it took off. As the video debuted on BET, the track reached #74 on the iTunes Hip-Hop/Rap Songs chart. The song he made to set himself on a better path was resonating with audiences and launching Jwalt’s career into a new era.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13979073\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2000x1333.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/36A159AE-1D1F-42D4-8AFD-23AB41555280-2048x1365.jpg 2048w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the past 18 months, Jwalt has been on the grind. He graduated from college and moved back to Oakland in the spring of 2024. Earlier this year he got engaged, and now he and his partner are expecting a baby girl.\u003c/p>\n\u003cp>On top of all this, Jwalt just dropped a new album. The project, \u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">\u003cem>Every Version of Me\u003c/em>\u003c/a>, paints an image of a multifaceted human being who knows how to tell a story on wax. He’s a person who studies hip-hop culture and is enmeshed in his Oakland community. He’s navigated all that comes with being a Black man at a prestigious university and managed to learn the most important lesson any student can ever learn: “You only live once, so now I’m living for peace / I meditate and celebrate, ’cause now I’m living for me,” as he says on the album’s lead single.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/819J_xeJwmU'\n title='//www.youtube.com/embed/819J_xeJwmU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another standout track from the project, “Graduation,” takes the same sincere tone as “Love Myself” as it gives listeners a glimpse into the artist’s life as a student. He addresses imposter syndrome, survivor’s guilt and classism — not to mention being homesick.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I got people back home who’ve never left Oakland, never left the Bay,” he says, reflecting on the sentiment that pushed him to pen the song. “And being able to go to NYU, and walk around in different spaces but not see anyone who looks like me, it was very abnormal.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At the time, Jwalt questioned if he belonged. Now he says it was one of the best decisions he’s ever made. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had a class called ‘The Art of the MC’ [taught] by \u003ca href=\"https://www.kqed.org/arts/13834000/between-the-world-and-black-thought\">Black Thought\u003c/a>,” says Jwalt, adding that he now considers the legendary lead MC of The Roots a mentor. \u003c/span>\u003c/p>\n\u003cp>On his latest album, it’s clear that Jwalt’s education in hip-hop began long before he touched down in NYC. One of his earliest “classmates” in the rap game was rising Bay Area artist \u003ca href=\"https://www.kqed.org/arts/13976638/seiji-oda-ethereal-blap-cupcake-no-fillin-human-nature\" target=\"_blank\" rel=\"noopener\">Seiji Oda\u003c/a>.\u003c/p>\n\u003cp>Jwalt and Oda, who is a few years older, grew up as neighbors, and Jwalt recorded some of his earliest tracks at Oda’s house as a young teen. On \u003cem>Every Version of Me\u003c/em>, the two combine forces on a mobby, bass-heavy track produced by \u003ca href=\"https://www.instagram.com/callmeclaydough/?hl=en\" target=\"_blank\" rel=\"noopener\">ClayDough\u003c/a> called “Bay 2 NY.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’ve known Seiji for a while,” says Jwalt. “And being able to see him grow has been dope.” \u003c/span>\u003c/p>\n\u003cp>That’s the case for nearly all the album’s features, which include verses from San Francisco rapper and actor \u003ca href=\"https://www.kqed.org/arts/tag/stunnaman02\" target=\"_blank\" rel=\"noopener\">Stunnaman02\u003c/a> and Oakland singer \u003ca href=\"https://www.instagram.com/shante_music/?hl=en\" target=\"_blank\" rel=\"noopener\">Shanté\u003c/a>. \u003c/p>\n\u003cp>The album also features \u003ca href=\"https://www.instagram.com/1100himself/?hl=en\" target=\"_blank\" rel=\"noopener\">1100 Himself\u003c/a>, \u003ca href=\"https://www.instagram.com/officialyelly/?hl=en\" target=\"_blank\" rel=\"noopener\">Yelly\u003c/a> and\u003ca href=\"https://www.instagram.com/rexxliferaj/?hl=en\" target=\"_blank\" rel=\"noopener\"> Rexx Life Raj\u003c/a>, but one guest appearance steals the show: an interlude from the late actor \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\" target=\"_blank\" rel=\"noopener\">Angus Cloud\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13979129\" class=\"wp-caption aligncenter\" style=\"max-width: 1053px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13979129\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg\" alt=\"\" width=\"1053\" height=\"1580\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2.jpg 1053w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-2-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1053px) 100vw, 1053px\">\u003cfigcaption class=\"wp-caption-text\">Oakland MC Jwalt walks the red carpet at the premiere for the film ‘Freaky Tales.’ \u003ccite>(Azalea Garcia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Angus was one of my biggest supporters,” Jwalt says, opening up about a friendship that grew into a brotherhood. After a chance meeting at an \u003ca href=\"https://www.oaklandsown1852.com/?srsltid=AfmBOorHpfodkg34y2DUJpx9FRDvE10ufkCzOCNueluQG1gKdvFukvWO\" target=\"_blank\" rel=\"noopener\">Oakland’s Own\u003c/a> clothing pop-up in Jack London Square, the two realized they were both graduates, a few years apart, of the Oakland School for the Arts. From there, a friendship blossomed. \u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We used to talk a lot,” says Jwalt, who has even more archived soundbites from Cloud. “He always encouraged me to keep on going. And when he got his platform he always wanted to share it with other dope artists from Oakland.”\u003c/span>\u003c/p>\n\u003cp>A major component in Jwalt’s young career is how he’s been uplifted by his hometown, individuals and institutions alike.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Y7_pfOCwiqU'\n title='//www.youtube.com/embed/Y7_pfOCwiqU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In just this past year, Jwalt has played in the Reggie Jackson celebrity softball game at the Oakland Coliseum, where he met Oakland A’s legend Rickey Henderson weeks before his untimely passing. He then doubled back to the Coliseum to perform at halftime at \u003ca href=\"https://www.instagram.com/p/DKzzgobpEgj/\" target=\"_blank\" rel=\"noopener\">an Oakland Roots soccer game\u003c/a>.\u003c/p>\n\u003cp>In April, the Oakland Ballers baseball team announced \u003ca href=\"https://www.instagram.com/p/DIAIwcrNuVc/\" target=\"_blank\" rel=\"noopener\">Jwalt as one of its many part-owners\u003c/a> and the author of the team’s new anthem, “\u003ca href=\"https://www.youtube.com/watch?v=Y7_pfOCwiqU\" target=\"_blank\" rel=\"noopener\">Ballers Ballad\u003c/a>.” And last week, the red-haired MC rocked a crowd in front of the baseball stadium during \u003ca href=\"https://www.instagram.com/p/DMGBkyjR_Wq/?img_index=1\" target=\"_blank\" rel=\"noopener\">a community block party\u003c/a>.\u003c/p>\n\u003cp>Next week, on Tuesday, July 29, Jwalt will be the special guest at the \u003ca href=\"https://www.instagram.com/p/DMJAvSlBF__/?img_index=1\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> event hosted by \u003ca href=\"http://instagram.com/CHR1ST1VN/\" target=\"_blank\" rel=\"noopener\">Christian Walker\u003c/a> and \u003ca href=\"https://www.instagram.com/karegabailey/\" target=\"_blank\" rel=\"noopener\">Karega Bailey\u003c/a> at the Black Panther Party Museum in downtown Oakland.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I’m someone that’s been a proponent of talking about mental health, especially as a young Black man,” says Jwalt, noting that he, too, struggles with anxiety. \u003c/span>\u003c/p>\n\u003cp>But as a multifaceted artist and a parent, a student of hip-hop and a proud representative of the Town, his biggest aspirations are relatively simple: to tell a story that’s true to his lived experience, and it share it with people who can relate.\u003c/p>\n\u003cp>He’s done exactly that with the song “Love Myself,” and he doesn’t plan on stopping anytime soon.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Jwalt’s latest album, ‘\u003ca href=\"https://open.spotify.com/album/7bEjyXLJnDal5MvoMbMlHf\" target=\"_blank\" rel=\"noopener\">Every Version of Me\u003c/a>,’ is available on all platforms. He speaks at the \u003ca href=\"https://www.instagram.com/menswellnessfellowship/\" target=\"_blank\" rel=\"noopener\">Men’s Wellness Fellowship\u003c/a> on Tuesday, July 29. \u003ca href=\"https://www.menswellnessfellowship.com/?fbclid=PAZXh0bgNhZW0CMTEAAaeT24lUwDQMX5NpPA6Ffnh_tjALXfjiZ1qrsyPrCK7mMj_b_6TgpoHLIHaPNQ_aem_tO6nLQ7_byGv09S2tBkhlg\" target=\"_blank\" rel=\"noopener\">More information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "This Young Oakland Artist Is Headed to the Kennedy Center, Despite Trump’s Takeover",
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"content": "\u003cp>In many ways, \u003ca href=\"https://www.instagram.com/_bdeveaux/?hl=en\" target=\"_blank\" rel=\"noopener\">B. DeVeaux\u003c/a>’s mere existence is a challenge to the status quo. As a femme non-binary first-generation U.S. citizen of Afro Caribbean descent, the California born-and-raised artist sings about self-love, social justice and the power of community.\u003c/p>\n\u003cp>But DeVeaux, an Oakland singer, songwriter and musician, isn’t running from that challenge. Instead, they’re on a collision course — later this month, they \u003ca href=\"https://www.kennedy-center.org/whats-on/millennium-stage/2025/july/oakland-rising/\" target=\"_blank\" rel=\"noopener\">perform at the Kennedy Center in Washington D.C.\u003c/a>\u003c/p>\n\u003cp>In February, the management of the 54-year-old historic institution was taken over by President Trump, who’s consistently promoted anti-queer, anti-immigrant and anti-Black legislation and rhetoric, including his vision for the Kennedy Center.\u003c/p>\n\u003cp>So for someone like B. DeVeaux, why perform there at all? While many other artists have \u003ca href=\"https://www.vulture.com/article/kennedy-center-canceled-events.html\">publicly canceled their Kennedy Center shows in protest\u003c/a>, the Oakland School for the Arts graduate speaks of a higher calling.\u003c/p>\n\u003cp>“If I was ever going to be loud and proud and active, and take any kind of stand for my people,” they said during a recent phone call, “I feel like the time is now.”\u003c/p>\n\u003cfigure id=\"attachment_13978207\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978207\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Screenshot-2025-07-02-at-8.19.35%E2%80%AFAM.png\" alt=\"\" width=\"1022\" height=\"1248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Screenshot-2025-07-02-at-8.19.35 AM.png 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Screenshot-2025-07-02-at-8.19.35 AM-160x195.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Screenshot-2025-07-02-at-8.19.35 AM-768x938.png 768w\" sizes=\"auto, (max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) B. DeVeaux, August Lee Stevens and NAIMA, who perform together as Oakland Rising at the Kennedy Center in Washington D.C. on July 18. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the July 18 performance, B. DeVeaux will be part of the group Oakland Rising, along with musicians \u003ca href=\"https://www.kqed.org/arts/13954077/august-lee-stevens-better-places\" target=\"_blank\" rel=\"noopener\">August Lee Stevens\u003c/a> and \u003ca href=\"https://www.instagram.com/naima.nascimentomusic/\">NAIMA\u003c/a>. Ahead of the show, the three got some poignant advice from another East Bay local who recently chose to perform at the Kennedy Center despite Trump’s takeover.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We spoke with \u003ca href=\"https://www.kqed.org/arts/13971959/w-kamau-bell-kennedy-center-trump\" target=\"_blank\" rel=\"noopener\">W. Kamau Bell\u003c/a> about it,” B. DeVeaux said. “His advice to us was about being intentional, because this may be something that you’re going to talk about for the rest of your life.”\u003c/p>\n\u003cp>Bell also told the emerging musicians that while people will always have their opinions, what’s important is they make up their minds about what they’re doing it for. “Stand in your truth,” he told them, “you know who you are.”\u003c/p>\n\u003cp>[aside postID='arts_13971959']Even as a young artist on the verge of releasing their fist album, B. DeVeaux is clear about the magnitude of this moment — and it all comes at a time when B. DeVeaux is on the move.\u003c/p>\n\u003cp>Last week, B. DeVeaux released their first single, “\u003cspan dir=\"auto\">\u003ca href=\"https://unitedmasters.com/m/because-you\" target=\"_blank\" rel=\"noopener\">Because You\u003c/a>,” from their forthcoming debut album, “Chrysalis.”\u003c/span>\u003c/p>\n\u003cp>B. DeVeaux’s empowering lyrics and impressive vocals pair with acoustic guitar and drums to make a heartwarming R&B song. The emotional track, and the album as a whole, is a dedication to B. DeVeaux’s late sister, Taurian Wolfe-DeVeaux.\u003c/p>\n\u003cp>This week they finish a stint as an understudy in the musical \u003ca href=\"https://www.kqed.org/arts/13977677/co-founders-act-hip-hop-musical-west-oakland-silicon-valley\" target=\"_blank\" rel=\"noopener\">\u003cem>Co-Founders\u003c/em>\u003c/a>. Last week they performed alongside \u003ca href=\"https://www.kmuw.org/podcast/into-music/2025-03-06/into-music-vicki-randle\" target=\"_blank\" rel=\"noopener\">Vicki Randle\u003c/a> at The Freight in Berkeley. And later this month they’ll be on stage at \u003ca href=\"https://www.etickets.com/concerts/country-folk/rhiannon-giddens/saratoga-ca/43024-641/d?gad_source=1&gad_campaignid=19895240153&gbraid=0AAAAApWhvDz9cxtiKMaKCBbcs-WjapRww&gclid=CjwKCAjwsZPDBhBWEiwADuO6y-bQpXEkHQ2ECwzFVo1awDdK89SPo5Xnb4L3o-JKg0EbuDVWRcwI1RoCc2sQAvD_BwE\" target=\"_blank\" rel=\"noopener\">Mountain Winery\u003c/a> for a performance with Grammy- and Pulitzer-winning musician \u003ca href=\"https://www.instagram.com/rhiannongiddens/?hl=en\" target=\"_blank\" rel=\"noopener\">Rhiannon Giddens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978211\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978211 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2.jpg\" alt=\"\" width=\"1234\" height=\"1646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">In addition to singing, B. DeVeaux plays guitar, bass, and cajon percussion on their forthcoming album. \u003ccite>( Zoë Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s quite a journey for the young artist who, at age 14, shared their queer identity with their family; their father responded by calling them a derogatory term.\u003c/p>\n\u003cp>“When I decided to let people know who I was,” said B. DeVeaux, “it was met with anger, it was met with insults.” If they can deal with oppression coming from family for merely being who they are, they reasoned, what can society at large possibly throw at them?\u003c/p>\n\u003cp>On \u003cem>Because of You\u003c/em>, B. DeVeaux’s produces, arranges and plays every instrument, aside from piano by Jonathan Franaszek and drums by Bruce Cook. Recorded through \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Women’s Audio Mission’s\u003c/a> Local Sirens residency, the album captures B. DeVeaux’s poetic lyrics and uninhibited imagination.\u003c/p>\n\u003cp>[aside postID='arts_13975538']On the song “Pluto,” the artist visualizes a world where purple skies and red rain meet green birds, yellow dogs and sugarcane. It’s “where all the things you dream come to life, where nothing is out of reach or out of sight,” they sing.\u003c/p>\n\u003cp>The vocalist takes a more intrapersonal approach on the track “Sometimes You Need to Burn in Hell,” singing about accountability, growth, self-love and re-emerging from a low place.\u003c/p>\n\u003cp>“I know somebody’s going to read that title and be like, ‘Oh my gosh, what?’” B. DeVeaux said. “But it’s also just real. You really gotta go through some stuff to get through it, and there’s no other way. You have to let stuff go, you have to cry, you have be angry, crash out, you know?”\u003c/p>\n\u003cfigure id=\"attachment_13978205\" class=\"wp-caption aligncenter\" style=\"max-width: 1184px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978205 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1.jpg\" alt=\"\" width=\"1184\" height=\"1646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1.jpg 1184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-768x1068.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1105x1536.jpg 1105w\" sizes=\"auto, (max-width: 1184px) 100vw, 1184px\">\u003cfigcaption class=\"wp-caption-text\">B. DeVeaux’s songs often come from ideas recorded on voice notes, channeling the vibes of the music and the moment. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album ends with the track “Safe Place,” a song inspired by a conversation with their mom. Reunited after eight years apart, B. DeVeaux’s mother suggested that they write a self-addressed letter. B. DeVeaux decided to write it in song form. While housesitting for a former teacher, they held a mahogany acoustic guitar, playing with some chords from the Beatles song “Blackbird.” After a few repetitions, the words came to them.\u003c/p>\n\u003cp>“I feel like a theme in my life,” said B. DeVeaux, reflecting on the content in the song, “has been the feeling of being unsupported or unloved; feeling like I’m not enough.”\u003c/p>\n\u003cp>That feeling was most prominent as a child, they said, noting that in adulthood — especially after their sister’s passing two years ago — the community’s outpouring of love has shifted their perception of support. Now, “I know that I’m loved,” they said. “I know I’m supported.”\u003c/p>\n\u003cp>The song is what the younger version of what B. DeVeaux needed, as well as a warm hug for listeners, according to B. DeVeaux. Each time they perform it, they’re “carving out a little space for that younger person inside” of whoever’s listening.\u003c/p>\n\u003cp>“You can be everything that you are for yourself,” they said. “You don’t have to go outside of you for anything. You are more than enough. You are here for a reason.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>B. DeVeaux performs July 18 as part of the group Oakland Rising at the Kennedy Center in Washington D.C. The concert will be made available to watch via livestream. \u003ca href=\"https://www.kennedy-center.org/whats-on/millennium-stage/2025/july/oakland-rising/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In many ways, \u003ca href=\"https://www.instagram.com/_bdeveaux/?hl=en\" target=\"_blank\" rel=\"noopener\">B. DeVeaux\u003c/a>’s mere existence is a challenge to the status quo. As a femme non-binary first-generation U.S. citizen of Afro Caribbean descent, the California born-and-raised artist sings about self-love, social justice and the power of community.\u003c/p>\n\u003cp>But DeVeaux, an Oakland singer, songwriter and musician, isn’t running from that challenge. Instead, they’re on a collision course — later this month, they \u003ca href=\"https://www.kennedy-center.org/whats-on/millennium-stage/2025/july/oakland-rising/\" target=\"_blank\" rel=\"noopener\">perform at the Kennedy Center in Washington D.C.\u003c/a>\u003c/p>\n\u003cp>In February, the management of the 54-year-old historic institution was taken over by President Trump, who’s consistently promoted anti-queer, anti-immigrant and anti-Black legislation and rhetoric, including his vision for the Kennedy Center.\u003c/p>\n\u003cp>So for someone like B. DeVeaux, why perform there at all? While many other artists have \u003ca href=\"https://www.vulture.com/article/kennedy-center-canceled-events.html\">publicly canceled their Kennedy Center shows in protest\u003c/a>, the Oakland School for the Arts graduate speaks of a higher calling.\u003c/p>\n\u003cp>“If I was ever going to be loud and proud and active, and take any kind of stand for my people,” they said during a recent phone call, “I feel like the time is now.”\u003c/p>\n\u003cfigure id=\"attachment_13978207\" class=\"wp-caption aligncenter\" style=\"max-width: 1022px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13978207\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Screenshot-2025-07-02-at-8.19.35%E2%80%AFAM.png\" alt=\"\" width=\"1022\" height=\"1248\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Screenshot-2025-07-02-at-8.19.35 AM.png 1022w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Screenshot-2025-07-02-at-8.19.35 AM-160x195.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/Screenshot-2025-07-02-at-8.19.35 AM-768x938.png 768w\" sizes=\"auto, (max-width: 1022px) 100vw, 1022px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) B. DeVeaux, August Lee Stevens and NAIMA, who perform together as Oakland Rising at the Kennedy Center in Washington D.C. on July 18. \u003ccite>(Ariel Nava)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For the July 18 performance, B. DeVeaux will be part of the group Oakland Rising, along with musicians \u003ca href=\"https://www.kqed.org/arts/13954077/august-lee-stevens-better-places\" target=\"_blank\" rel=\"noopener\">August Lee Stevens\u003c/a> and \u003ca href=\"https://www.instagram.com/naima.nascimentomusic/\">NAIMA\u003c/a>. Ahead of the show, the three got some poignant advice from another East Bay local who recently chose to perform at the Kennedy Center despite Trump’s takeover.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We spoke with \u003ca href=\"https://www.kqed.org/arts/13971959/w-kamau-bell-kennedy-center-trump\" target=\"_blank\" rel=\"noopener\">W. Kamau Bell\u003c/a> about it,” B. DeVeaux said. “His advice to us was about being intentional, because this may be something that you’re going to talk about for the rest of your life.”\u003c/p>\n\u003cp>Bell also told the emerging musicians that while people will always have their opinions, what’s important is they make up their minds about what they’re doing it for. “Stand in your truth,” he told them, “you know who you are.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Even as a young artist on the verge of releasing their fist album, B. DeVeaux is clear about the magnitude of this moment — and it all comes at a time when B. DeVeaux is on the move.\u003c/p>\n\u003cp>Last week, B. DeVeaux released their first single, “\u003cspan dir=\"auto\">\u003ca href=\"https://unitedmasters.com/m/because-you\" target=\"_blank\" rel=\"noopener\">Because You\u003c/a>,” from their forthcoming debut album, “Chrysalis.”\u003c/span>\u003c/p>\n\u003cp>B. DeVeaux’s empowering lyrics and impressive vocals pair with acoustic guitar and drums to make a heartwarming R&B song. The emotional track, and the album as a whole, is a dedication to B. DeVeaux’s late sister, Taurian Wolfe-DeVeaux.\u003c/p>\n\u003cp>This week they finish a stint as an understudy in the musical \u003ca href=\"https://www.kqed.org/arts/13977677/co-founders-act-hip-hop-musical-west-oakland-silicon-valley\" target=\"_blank\" rel=\"noopener\">\u003cem>Co-Founders\u003c/em>\u003c/a>. Last week they performed alongside \u003ca href=\"https://www.kmuw.org/podcast/into-music/2025-03-06/into-music-vicki-randle\" target=\"_blank\" rel=\"noopener\">Vicki Randle\u003c/a> at The Freight in Berkeley. And later this month they’ll be on stage at \u003ca href=\"https://www.etickets.com/concerts/country-folk/rhiannon-giddens/saratoga-ca/43024-641/d?gad_source=1&gad_campaignid=19895240153&gbraid=0AAAAApWhvDz9cxtiKMaKCBbcs-WjapRww&gclid=CjwKCAjwsZPDBhBWEiwADuO6y-bQpXEkHQ2ECwzFVo1awDdK89SPo5Xnb4L3o-JKg0EbuDVWRcwI1RoCc2sQAvD_BwE\" target=\"_blank\" rel=\"noopener\">Mountain Winery\u003c/a> for a performance with Grammy- and Pulitzer-winning musician \u003ca href=\"https://www.instagram.com/rhiannongiddens/?hl=en\" target=\"_blank\" rel=\"noopener\">Rhiannon Giddens\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13978211\" class=\"wp-caption aligncenter\" style=\"max-width: 1234px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978211 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2.jpg\" alt=\"\" width=\"1234\" height=\"1646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2.jpg 1234w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-2-1152x1536.jpg 1152w\" sizes=\"auto, (max-width: 1234px) 100vw, 1234px\">\u003cfigcaption class=\"wp-caption-text\">In addition to singing, B. DeVeaux plays guitar, bass, and cajon percussion on their forthcoming album. \u003ccite>( Zoë Boston)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s quite a journey for the young artist who, at age 14, shared their queer identity with their family; their father responded by calling them a derogatory term.\u003c/p>\n\u003cp>“When I decided to let people know who I was,” said B. DeVeaux, “it was met with anger, it was met with insults.” If they can deal with oppression coming from family for merely being who they are, they reasoned, what can society at large possibly throw at them?\u003c/p>\n\u003cp>On \u003cem>Because of You\u003c/em>, B. DeVeaux’s produces, arranges and plays every instrument, aside from piano by Jonathan Franaszek and drums by Bruce Cook. Recorded through \u003ca href=\"https://womensaudiomission.org/\" target=\"_blank\" rel=\"noopener\">San Francisco’s Women’s Audio Mission’s\u003c/a> Local Sirens residency, the album captures B. DeVeaux’s poetic lyrics and uninhibited imagination.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On the song “Pluto,” the artist visualizes a world where purple skies and red rain meet green birds, yellow dogs and sugarcane. It’s “where all the things you dream come to life, where nothing is out of reach or out of sight,” they sing.\u003c/p>\n\u003cp>The vocalist takes a more intrapersonal approach on the track “Sometimes You Need to Burn in Hell,” singing about accountability, growth, self-love and re-emerging from a low place.\u003c/p>\n\u003cp>“I know somebody’s going to read that title and be like, ‘Oh my gosh, what?’” B. DeVeaux said. “But it’s also just real. You really gotta go through some stuff to get through it, and there’s no other way. You have to let stuff go, you have to cry, you have be angry, crash out, you know?”\u003c/p>\n\u003cfigure id=\"attachment_13978205\" class=\"wp-caption aligncenter\" style=\"max-width: 1184px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13978205 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1.jpg\" alt=\"\" width=\"1184\" height=\"1646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1.jpg 1184w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-160x222.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-768x1068.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/07/0-1-1105x1536.jpg 1105w\" sizes=\"auto, (max-width: 1184px) 100vw, 1184px\">\u003cfigcaption class=\"wp-caption-text\">B. DeVeaux’s songs often come from ideas recorded on voice notes, channeling the vibes of the music and the moment. \u003ccite>(Saman Qadir)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album ends with the track “Safe Place,” a song inspired by a conversation with their mom. Reunited after eight years apart, B. DeVeaux’s mother suggested that they write a self-addressed letter. B. DeVeaux decided to write it in song form. While housesitting for a former teacher, they held a mahogany acoustic guitar, playing with some chords from the Beatles song “Blackbird.” After a few repetitions, the words came to them.\u003c/p>\n\u003cp>“I feel like a theme in my life,” said B. DeVeaux, reflecting on the content in the song, “has been the feeling of being unsupported or unloved; feeling like I’m not enough.”\u003c/p>\n\u003cp>That feeling was most prominent as a child, they said, noting that in adulthood — especially after their sister’s passing two years ago — the community’s outpouring of love has shifted their perception of support. Now, “I know that I’m loved,” they said. “I know I’m supported.”\u003c/p>\n\u003cp>The song is what the younger version of what B. DeVeaux needed, as well as a warm hug for listeners, according to B. DeVeaux. Each time they perform it, they’re “carving out a little space for that younger person inside” of whoever’s listening.\u003c/p>\n\u003cp>“You can be everything that you are for yourself,” they said. “You don’t have to go outside of you for anything. You are more than enough. You are here for a reason.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>B. DeVeaux performs July 18 as part of the group Oakland Rising at the Kennedy Center in Washington D.C. The concert will be made available to watch via livestream. \u003ca href=\"https://www.kennedy-center.org/whats-on/millennium-stage/2025/july/oakland-rising/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13975343\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg\" alt=\"A young Black man in a patterned blue shirt plays the tenor saxophone with his eyes closed against a blue curtain background\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-1920x1320.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Ayo Brame performs at one of two sold-out shows at Yoshi’s in Oakland on his 18th birthday, April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it’s your 18th birthday, and it’s time to pick an opening song for your sold-out shows at the hometown jazz club, \u003cem>and\u003c/em> your parents played John Coltrane’s \u003cem>A Love Supreme\u003c/em> while you were being born, the choice is obvious, right?\u003c/p>\n\u003cp>In front of a supportive crowd that included fellow musicians, family, schoolmates and fans, \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a> kicked off his set at Yoshi’s this past Friday night with none other than “Acknowledgment,” the opener from \u003cem>A Love Supreme\u003c/em>, a bold landmark of 20th century music. Tenor sax in hand and a lifetime of creative expression ahead of him, Brame put the mouthpiece to his lips, closed his eyes and blew the song’s famous opening arpeggio.\u003c/p>\n\u003cp>It set off a variegated 75-minute set that showcased Brame’s breadth of style, and probably the first-ever instance of the music of New Edition, the Rebirth Brass Band, Fela Kuti, Joe Sample \u003cem>and\u003c/em> Too Short being played back-to-back on the Yoshi’s stage.\u003c/p>\n\u003cfigure id=\"attachment_13975405\" class=\"wp-caption aligncenter\" style=\"max-width: 988px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed.jpg\" alt=\"\" width=\"988\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed.jpg 988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed-800x1079.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed-768x1036.jpg 768w\" sizes=\"auto, (max-width: 988px) 100vw, 988px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Ayo Brame poses for a photo backstage before his shows at Yoshi’s in Oakland on his 18th birthday, April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was no surprise for those who know Brame’s upbringing, in particular his parents’ influence. After the day-one Coltrane — a clear guidepost for Brame’s playing — Yomi and Shimika Brame raised him on a steady diet of great Black music, only a fraction of which Brame was able to cover in his set of 12 songs, which included even more personal favorites via medleys and mashups. In Brame’s world, Too Short’s “Blow the Whistle” and Tupac’s “Dear Mama” live side-by-side with Wayne Shorter’s “Yes or No” and Thelonious Monk’s “Ruby, My Dear.”\u003c/p>\n\u003cp>In addition to the hard work of rehearsing, Brame mentioned another aspect to his practice during a short backstage conversation before the show: “Mental experience,” he called it. “Like, subliminal-like listening. It’s just been on my whole life, jazz music.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Brame grew up near Lake Merritt and attended Glenview Elementary before being accepted to Oakland School for the Arts (OSA), which boasts among its alumni the singer Kehlani and actress Zendaya. After graduating from OSA this year, he’ll leave the Bay Area in August for his first-choice college, the Mannes School of Music in New York.\u003c/p>\n\u003cfigure id=\"attachment_13975404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Brame’s parents, Yomi Brame and Shimika Brame (L-R), watch their son at Yoshi’s in Oakland on his 18th birthday, April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But since picking up the saxophone in 2022, he’s already made a huge splash here — and in tours of the Dominican Republic, Brazil, Cuba, Puerto Rico, Hong Kong and China. He counts among his local mentors Kev Choice (who served as music director and keyboardist for the Yoshi’s shows) and Howard Wiley. As for fans outside the Bay Area, he’s gotten accolades from both Kamasi Washington and former president Bill Clinton, who during a San Francisco tribute to Willie Mays \u003ca href=\"https://youtu.be/OE5iGnibfa0?feature=shared&t=202\">praised him\u003c/a> as a “a brilliant young saxophonist.”\u003c/p>\n\u003cp>Like most teenagers, Brame has other interests, including video games, visual art, sports and photography. But he’s particularly interested in developing his own voice on his horn, “internalizing” songs (he tends to discard sheet music after memorizing it) and getting lost in chord changes during solos so he can, in his words, “build the puzzle pieces back to the flow of the music.”\u003c/p>\n\u003cp>One small drawback to his show at Yoshi’s is that the sheer number of songs came at the expense of depth. The audience got a collage of Brame’s interests and influences, alongside a parade of talented collaborators and colleagues who shuffled on and off the stage, including \u003ca href=\"https://www.kqed.org/arts/tag/ian-kelly\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.kqed.org/whatspimpin\">RyanNicole\u003c/a>. Meanwhile, the constant action somewhat overshadowed the passages where Brame was able to open up and truly show his personality as a soloist.\u003c/p>\n\u003cfigure id=\"attachment_13975342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Ayo Brame performs during a sold-out show at Yoshi’s in Oakland on his 18th birthday, April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’ll be even more important to watch in the coming years as Brame studies in New York and gets exposed to even more of the wider world. As he said backstage, “I think for now, I’ve found my voice. But I’m sure I’ll find even a \u003cem>grander\u003c/em> voice later on.”\u003c/p>\n\u003cp>But this was a birthday party, after all, where a medley of a Washington D.C. go-go version of Raphael Saadiq’s “Still Ray,” a New Orleans brass band rave-up of “Feel Like Funkin’ It Up” and Nigerian funk legend Fela Kuti’s “Original Sufferhead” brought audience members to their feet.\u003c/p>\n\u003cp>After the Latin-tinged Kamasi Washington number “Truth” and Brame’s own fusion-tinged composition “Oakland in My Soul,” and at the cajoling of the audience, a run-through of “Happy Birthday” — \u003ca href=\"https://www.youtube.com/watch?v=RcVZfJO01NI\">both\u003c/a> \u003ca href=\"https://www.kqed.org/arts/11745186/happy-birthday-song-has-been-set-free\">versions\u003c/a> — fittingly ended the night.\u003c/p>\n\u003cfigure id=\"attachment_13975341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd applauds saxophonist Ayo Brame after his performance at a sold-out show at Yoshi’s in Oakland on April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for what’s next for this promising young talent, time can only tell. But while chatting backstage, he offered a small prediction.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Tupac has a quote,” Brame said, “where he’s like, ‘I’m not saying I’m gonna change the world, but I guarantee that I will spark the brain that will change the world.’ So that’s me. I wanna spark that mind.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13975343\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975343\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg\" alt=\"A young Black man in a patterned blue shirt plays the tenor saxophone with his eyes closed against a blue curtain background\" width=\"2000\" height=\"1375\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-1536x1056.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-26-KQED-1-1920x1320.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Ayo Brame performs at one of two sold-out shows at Yoshi’s in Oakland on his 18th birthday, April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it’s your 18th birthday, and it’s time to pick an opening song for your sold-out shows at the hometown jazz club, \u003cem>and\u003c/em> your parents played John Coltrane’s \u003cem>A Love Supreme\u003c/em> while you were being born, the choice is obvious, right?\u003c/p>\n\u003cp>In front of a supportive crowd that included fellow musicians, family, schoolmates and fans, \u003ca href=\"https://www.ayobrame.com/\">Ayo Brame\u003c/a> kicked off his set at Yoshi’s this past Friday night with none other than “Acknowledgment,” the opener from \u003cem>A Love Supreme\u003c/em>, a bold landmark of 20th century music. Tenor sax in hand and a lifetime of creative expression ahead of him, Brame put the mouthpiece to his lips, closed his eyes and blew the song’s famous opening arpeggio.\u003c/p>\n\u003cp>It set off a variegated 75-minute set that showcased Brame’s breadth of style, and probably the first-ever instance of the music of New Edition, the Rebirth Brass Band, Fela Kuti, Joe Sample \u003cem>and\u003c/em> Too Short being played back-to-back on the Yoshi’s stage.\u003c/p>\n\u003cfigure id=\"attachment_13975405\" class=\"wp-caption aligncenter\" style=\"max-width: 988px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975405\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed.jpg\" alt=\"\" width=\"988\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed.jpg 988w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed-800x1079.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed-160x216.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-1_qed-768x1036.jpg 768w\" sizes=\"auto, (max-width: 988px) 100vw, 988px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Ayo Brame poses for a photo backstage before his shows at Yoshi’s in Oakland on his 18th birthday, April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This was no surprise for those who know Brame’s upbringing, in particular his parents’ influence. After the day-one Coltrane — a clear guidepost for Brame’s playing — Yomi and Shimika Brame raised him on a steady diet of great Black music, only a fraction of which Brame was able to cover in his set of 12 songs, which included even more personal favorites via medleys and mashups. In Brame’s world, Too Short’s “Blow the Whistle” and Tupac’s “Dear Mama” live side-by-side with Wayne Shorter’s “Yes or No” and Thelonious Monk’s “Ruby, My Dear.”\u003c/p>\n\u003cp>In addition to the hard work of rehearsing, Brame mentioned another aspect to his practice during a short backstage conversation before the show: “Mental experience,” he called it. “Like, subliminal-like listening. It’s just been on my whole life, jazz music.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Brame grew up near Lake Merritt and attended Glenview Elementary before being accepted to Oakland School for the Arts (OSA), which boasts among its alumni the singer Kehlani and actress Zendaya. After graduating from OSA this year, he’ll leave the Bay Area in August for his first-choice college, the Mannes School of Music in New York.\u003c/p>\n\u003cfigure id=\"attachment_13975404\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975404\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AyoBrame_GC-3_qed-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ayo Brame’s parents, Yomi Brame and Shimika Brame (L-R), watch their son at Yoshi’s in Oakland on his 18th birthday, April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But since picking up the saxophone in 2022, he’s already made a huge splash here — and in tours of the Dominican Republic, Brazil, Cuba, Puerto Rico, Hong Kong and China. He counts among his local mentors Kev Choice (who served as music director and keyboardist for the Yoshi’s shows) and Howard Wiley. As for fans outside the Bay Area, he’s gotten accolades from both Kamasi Washington and former president Bill Clinton, who during a San Francisco tribute to Willie Mays \u003ca href=\"https://youtu.be/OE5iGnibfa0?feature=shared&t=202\">praised him\u003c/a> as a “a brilliant young saxophonist.”\u003c/p>\n\u003cp>Like most teenagers, Brame has other interests, including video games, visual art, sports and photography. But he’s particularly interested in developing his own voice on his horn, “internalizing” songs (he tends to discard sheet music after memorizing it) and getting lost in chord changes during solos so he can, in his words, “build the puzzle pieces back to the flow of the music.”\u003c/p>\n\u003cp>One small drawback to his show at Yoshi’s is that the sheer number of songs came at the expense of depth. The audience got a collage of Brame’s interests and influences, alongside a parade of talented collaborators and colleagues who shuffled on and off the stage, including \u003ca href=\"https://www.kqed.org/arts/tag/ian-kelly\">Ian Kelly\u003c/a> and \u003ca href=\"https://www.kqed.org/whatspimpin\">RyanNicole\u003c/a>. Meanwhile, the constant action somewhat overshadowed the passages where Brame was able to open up and truly show his personality as a soloist.\u003c/p>\n\u003cfigure id=\"attachment_13975342\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975342\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-23-KQED-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Saxophonist Ayo Brame performs during a sold-out show at Yoshi’s in Oakland on his 18th birthday, April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That’ll be even more important to watch in the coming years as Brame studies in New York and gets exposed to even more of the wider world. As he said backstage, “I think for now, I’ve found my voice. But I’m sure I’ll find even a \u003cem>grander\u003c/em> voice later on.”\u003c/p>\n\u003cp>But this was a birthday party, after all, where a medley of a Washington D.C. go-go version of Raphael Saadiq’s “Still Ray,” a New Orleans brass band rave-up of “Feel Like Funkin’ It Up” and Nigerian funk legend Fela Kuti’s “Original Sufferhead” brought audience members to their feet.\u003c/p>\n\u003cp>After the Latin-tinged Kamasi Washington number “Truth” and Brame’s own fusion-tinged composition “Oakland in My Soul,” and at the cajoling of the audience, a run-through of “Happy Birthday” — \u003ca href=\"https://www.youtube.com/watch?v=RcVZfJO01NI\">both\u003c/a> \u003ca href=\"https://www.kqed.org/arts/11745186/happy-birthday-song-has-been-set-free\">versions\u003c/a> — fittingly ended the night.\u003c/p>\n\u003cfigure id=\"attachment_13975341\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13975341\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/04/20250425_AYOBRAME_GC-16-KQED-1-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd applauds saxophonist Ayo Brame after his performance at a sold-out show at Yoshi’s in Oakland on April 25, 2025. \u003ccite>(Gina Castro/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for what’s next for this promising young talent, time can only tell. But while chatting backstage, he offered a small prediction.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Tupac has a quote,” Brame said, “where he’s like, ‘I’m not saying I’m gonna change the world, but I guarantee that I will spark the brain that will change the world.’ So that’s me. I wanna spark that mind.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "solespace-lab-oakland-sneakers-sustainability",
"title": "A Popular Oakland Sneaker Shop Returns — With a Twist",
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"headTitle": "A Popular Oakland Sneaker Shop Returns — With a Twist | KQED",
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"content": "\u003cp>For seven years, from 2012–2019, \u003ca href=\"https://www.instagram.com/solespacelab\">SoleSpace\u003c/a> — sneaker shop by day, community activation hub by night — served Oakland’s most community-minded sneakerheads, art lovers and streetwear addicts. The Telegraph Avenue storefront hosted \u003ca href=\"https://www.kqed.org/arts/13840766/advice-from-a-former-graffiti-writer-to-oaklands-new-generation\">workshops and events\u003c/a> (like a \u003ca href=\"https://www.instagram.com/solespace.lab/reel/Btgz3ddn4th/\">Lauryn Hill in-store signing\u003c/a>) that drew crowds so large you’d have to peer through the window to see the action inside.\u003c/p>\n\u003cp>Sadly, after a series of unexpected health issues, frequent break-ins, rising rent and a declining retail environment, SoleSpace shuttered in 2019.\u003c/p>\n\u003cp>[aside postID='arts_13840766']Now, after a five-year hiatus, cofounder Jeff Perlstein and biotech fashion designer \u003ca href=\"https://www.instagram.com/olivia__cueva/\">Olivia Cueva\u003c/a> are resurrecting the footwear store as an eco-friendly sneaker workshop. At SoleSpace Lab, a pilot project this summer on 12th Street in downtown Oakland, green-leaning sneakerheads and designers alike will be able to take classes on upcycling, shoe repair and more. The shop will pivot away from commercial retail — no new sneakers will be for sale — and instead focus on rethinking fashion’s role in the global climate crisis through education and community engagement, with an emphasis on youth development, sustainability and equity.\u003c/p>\n\u003cp>“I didn’t think I would touch [sneakers] again,” Perlstein says. “But I reflected on the excitement and joy I’d seen around shoes. Part of this is making peace with my critiques of the sneaker industry’s impact on the planet and bringing sustainability to sneakers.”\u003c/p>\n\u003cp>“It’s not about retail and selling some corporate-approved design, but how can we better take care of products that already exist?” he continues. “Those sneakers you already own, how can we dust them off and repair them, make them spicier to match a certain fit? This is about harnessing people’s creativity in Oakland and seeing how we can change things and give them a new life.”\u003c/p>\n\u003cfigure id=\"attachment_13959116\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg\" alt=\"two shoe designers hold up their custom made pair of shoes\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Perlstein (left) spent a year taking sneaker upcycling workshops with professional cobblers, including Brooklyn’s Sung Me (right), who will visit SoulSpace Lab this summer to lead a workshop. \u003ccite>(Courtesy SoleSpace Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perlstein’s recommitment to sneakers began during the pandemic, when his teenage son, Joaquin, enrolled into the Oakland School of the Arts’ fashion design pathway. Eventually, Perlstein teamed up with a village of local makers, fashion experts and artisans, including Cueva — who has more than a decade’s worth of education and community work under her belt, most recently as the director of the \u003ca href=\"https://www.instagram.com/theglovercenter/\">David E. Glover Emerging Technology Center\u003c/a> in deep East Oakland — to form what would become the \u003ca href=\"https://www.instagram.com/oaklandstylelab/?hl=en\">Oakland Style Lab\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With Cueva’s background in sustainable fashion technology (she attended \u003ca href=\"https://fablabbcn.org/education/in-house-programs/fabricademy-barcelona\">Fabricademy\u003c/a> in Barcelona), her work with Oakland Style Lab for the past four years has focused on mitigating fashion’s often wasteful practices. She’s found that by using bioplastics and biodegradable materials, such as hemp, cactus and pineapple “leathers,” goji berries and echinacea, it’s possible to design sneakers that are both eco-friendly and popular.\u003c/p>\n\u003cp>“I was basically looking at what’s going on in our culture, being heavily influenced by celebrities and Instagram to have new things all the time,” Cueva explains. “The problem is we’re dumping stuff out that doesn’t go away. These materials are bad for the earth. I wanted to create things that will go back into the earth and feed it, nurture it.”\u003c/p>\n\u003cp>[aside postID='arts_13954364']In July, Cueva will lead a four-day intensive class at SoleSpace Lab, teaching how to craft a pair of biodegradable Air Jordan 1s from scratch. Makers like Cueva and \u003ca href=\"https://www.instagram.com/thehoodcobbler/?hl=en\">The Hood Cobbler\u003c/a> — a popular East Oakland sneaker repair expert — will providing courses, seminars and mentorship to Oakland’s next generation of designers, creatives and problem-solvers.\u003c/p>\n\u003cp>Other guests will include \u003ca href=\"https://www.instagram.com/stepkicks510/?hl=en\">Stepkicks510\u003c/a>, the Buenos Aires-born DJ-turned-sneakerhead who personally gifted Argentina’s Lionel Messi a pair of custom-made Adidas Sambas; \u003ca href=\"https://www.instagram.com/cobbler_bushwick_co/\">Sung Roh\u003c/a>, a Korean master cobbler residing in Brooklyn who Perlstein took a class from last year; and a \u003ca href=\"https://www.sneakermuseumoakland.org/\">Sneaker Museum Oakland\u003c/a> pop-up.\u003c/p>\n\u003cfigure id=\"attachment_13959113\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959113\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg\" alt=\"a local designer showcases her biodegradable Nike sneaker\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Cueva of Oakland Style Lab showcases her customized biodegradable Jordan 1 sneakers. Cueva will run an intensive four-day sneaker design workshop in July. \u003ccite>(Courtesy Olivia Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, SoleSpace Lab is crowdsourcing funds for their pilot program. Offerings will include drop-in shoe cleaning and repair, a six-week externship for Oakland Unified School District students, and public events like the \u003ca href=\"https://www.instagram.com/p/C7aVpwztTr1/?img_index=1\">Converse and Birkenstock upcycling class\u003c/a>.\u003c/p>\n\u003cp>Perlstein, who gets visibly fired up about it all, is adamant about wanting to create the world’s greenest sneaker outlet with a commitment to exchanging communal knowledge.\u003c/p>\n\u003cp>“When I was a kid, sneaker shops were a place where old heads would hang and you could soak up game and history,” he says. “But sneaker shops and the industry have changed so much with online raffles … You get your shoe and leave, or it gets delivered to your home. So how can we make a space for people to come together with joy and sustainability as the focus?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SoleSpace Lab is \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">currently raising funds\u003c/a> for their summer pilot program. The grand opening takes place on Friday, June 14, at 302 12th St. (formerly Lucky Duck Bicycle Cafe) in Oakland. \u003cspan style=\"font-weight: 400\">Information\u003c/span>\u003cspan style=\"font-weight: 400\"> about tickets, classes and services available \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">here\u003c/a>.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "SoleSpace is set to reopen as a sneaker lab focused on upcycling, youth development and sustainability.",
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"title": "Oakland Sneaker Shop SoleSpace Returns – With a Twist | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For seven years, from 2012–2019, \u003ca href=\"https://www.instagram.com/solespacelab\">SoleSpace\u003c/a> — sneaker shop by day, community activation hub by night — served Oakland’s most community-minded sneakerheads, art lovers and streetwear addicts. The Telegraph Avenue storefront hosted \u003ca href=\"https://www.kqed.org/arts/13840766/advice-from-a-former-graffiti-writer-to-oaklands-new-generation\">workshops and events\u003c/a> (like a \u003ca href=\"https://www.instagram.com/solespace.lab/reel/Btgz3ddn4th/\">Lauryn Hill in-store signing\u003c/a>) that drew crowds so large you’d have to peer through the window to see the action inside.\u003c/p>\n\u003cp>Sadly, after a series of unexpected health issues, frequent break-ins, rising rent and a declining retail environment, SoleSpace shuttered in 2019.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now, after a five-year hiatus, cofounder Jeff Perlstein and biotech fashion designer \u003ca href=\"https://www.instagram.com/olivia__cueva/\">Olivia Cueva\u003c/a> are resurrecting the footwear store as an eco-friendly sneaker workshop. At SoleSpace Lab, a pilot project this summer on 12th Street in downtown Oakland, green-leaning sneakerheads and designers alike will be able to take classes on upcycling, shoe repair and more. The shop will pivot away from commercial retail — no new sneakers will be for sale — and instead focus on rethinking fashion’s role in the global climate crisis through education and community engagement, with an emphasis on youth development, sustainability and equity.\u003c/p>\n\u003cp>“I didn’t think I would touch [sneakers] again,” Perlstein says. “But I reflected on the excitement and joy I’d seen around shoes. Part of this is making peace with my critiques of the sneaker industry’s impact on the planet and bringing sustainability to sneakers.”\u003c/p>\n\u003cp>“It’s not about retail and selling some corporate-approved design, but how can we better take care of products that already exist?” he continues. “Those sneakers you already own, how can we dust them off and repair them, make them spicier to match a certain fit? This is about harnessing people’s creativity in Oakland and seeing how we can change things and give them a new life.”\u003c/p>\n\u003cfigure id=\"attachment_13959116\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959116\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg\" alt=\"two shoe designers hold up their custom made pair of shoes\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/Sung-Me-Brooklyn-Upcycle-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Jeff Perlstein (left) spent a year taking sneaker upcycling workshops with professional cobblers, including Brooklyn’s Sung Me (right), who will visit SoulSpace Lab this summer to lead a workshop. \u003ccite>(Courtesy SoleSpace Lab)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Perlstein’s recommitment to sneakers began during the pandemic, when his teenage son, Joaquin, enrolled into the Oakland School of the Arts’ fashion design pathway. Eventually, Perlstein teamed up with a village of local makers, fashion experts and artisans, including Cueva — who has more than a decade’s worth of education and community work under her belt, most recently as the director of the \u003ca href=\"https://www.instagram.com/theglovercenter/\">David E. Glover Emerging Technology Center\u003c/a> in deep East Oakland — to form what would become the \u003ca href=\"https://www.instagram.com/oaklandstylelab/?hl=en\">Oakland Style Lab\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With Cueva’s background in sustainable fashion technology (she attended \u003ca href=\"https://fablabbcn.org/education/in-house-programs/fabricademy-barcelona\">Fabricademy\u003c/a> in Barcelona), her work with Oakland Style Lab for the past four years has focused on mitigating fashion’s often wasteful practices. She’s found that by using bioplastics and biodegradable materials, such as hemp, cactus and pineapple “leathers,” goji berries and echinacea, it’s possible to design sneakers that are both eco-friendly and popular.\u003c/p>\n\u003cp>“I was basically looking at what’s going on in our culture, being heavily influenced by celebrities and Instagram to have new things all the time,” Cueva explains. “The problem is we’re dumping stuff out that doesn’t go away. These materials are bad for the earth. I wanted to create things that will go back into the earth and feed it, nurture it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In July, Cueva will lead a four-day intensive class at SoleSpace Lab, teaching how to craft a pair of biodegradable Air Jordan 1s from scratch. Makers like Cueva and \u003ca href=\"https://www.instagram.com/thehoodcobbler/?hl=en\">The Hood Cobbler\u003c/a> — a popular East Oakland sneaker repair expert — will providing courses, seminars and mentorship to Oakland’s next generation of designers, creatives and problem-solvers.\u003c/p>\n\u003cp>Other guests will include \u003ca href=\"https://www.instagram.com/stepkicks510/?hl=en\">Stepkicks510\u003c/a>, the Buenos Aires-born DJ-turned-sneakerhead who personally gifted Argentina’s Lionel Messi a pair of custom-made Adidas Sambas; \u003ca href=\"https://www.instagram.com/cobbler_bushwick_co/\">Sung Roh\u003c/a>, a Korean master cobbler residing in Brooklyn who Perlstein took a class from last year; and a \u003ca href=\"https://www.sneakermuseumoakland.org/\">Sneaker Museum Oakland\u003c/a> pop-up.\u003c/p>\n\u003cfigure id=\"attachment_13959113\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13959113\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg\" alt=\"a local designer showcases her biodegradable Nike sneaker\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-scaled.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-800x1067.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1020x1360.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-160x213.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-768x1024.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1152x1536.jpeg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/06/CUEVA_DIY_AirJordan_1-1536x2048.jpeg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Cueva of Oakland Style Lab showcases her customized biodegradable Jordan 1 sneakers. Cueva will run an intensive four-day sneaker design workshop in July. \u003ccite>(Courtesy Olivia Cuevas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Currently, SoleSpace Lab is crowdsourcing funds for their pilot program. Offerings will include drop-in shoe cleaning and repair, a six-week externship for Oakland Unified School District students, and public events like the \u003ca href=\"https://www.instagram.com/p/C7aVpwztTr1/?img_index=1\">Converse and Birkenstock upcycling class\u003c/a>.\u003c/p>\n\u003cp>Perlstein, who gets visibly fired up about it all, is adamant about wanting to create the world’s greenest sneaker outlet with a commitment to exchanging communal knowledge.\u003c/p>\n\u003cp>“When I was a kid, sneaker shops were a place where old heads would hang and you could soak up game and history,” he says. “But sneaker shops and the industry have changed so much with online raffles … You get your shoe and leave, or it gets delivered to your home. So how can we make a space for people to come together with joy and sustainability as the focus?”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>SoleSpace Lab is \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">currently raising funds\u003c/a> for their summer pilot program. The grand opening takes place on Friday, June 14, at 302 12th St. (formerly Lucky Duck Bicycle Cafe) in Oakland. \u003cspan style=\"font-weight: 400\">Information\u003c/span>\u003cspan style=\"font-weight: 400\"> about tickets, classes and services available \u003ca href=\"https://www.indiegogo.com/projects/solespace-lab-customize-design-repair-sneakers#/\">here\u003c/a>.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt",
"title": "Tributes to Angus Cloud Pour in From Oakland",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>[aside postid='arts_13932452']Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Zendaya, Kehlani, Kev Choice and friends remember the charismatic ‘Euphoria’ star who died just three weeks after turning 25.",
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"title": "Zendaya, Kehlani, Kev Choice and More Remember Angus Cloud | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13932452/angus-cloud-breakout-star-of-euphoria-is-dead-at-25\">Angus Cloud’s death\u003c/a> in Oakland has sent shockwaves across the East Bay since his passing was announced on Monday. The actor, who grew up near Lake Merritt, turned 25 just three weeks before he died.\u003c/p>\n\u003cp>While no cause of death was given, a statement from Cloud’s family said that “Angus was open about his battle with mental health and we hope that his passing can be a reminder to others that they are not alone and should not fight this on their own in silence.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Cloud became a household name around the world in recent years thanks to his breakout role in the controversial TV show \u003cem>Euphoria\u003c/em>. But those who knew him in Oakland, pre-fame, say the news feels especially personal and painful.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/p/CvYsrpfN93k/?hl=en\">Kehlani paid tribute to Cloud on her Instagram\u003c/a> shortly after the news broke, writing: “sat for a long time. u fucked the whole world up, but you really fucked everybody at home up. it’s a deep one. not too many words when it’s this close to home. not many words when it’s a bigger conversation. i ain’t got much more to say except the real person was more complex & more solid than a tv character. that person deserve to be remembered in totality.”\u003c/p>\n\u003cp>Cloud’s effortless charisma made him an instant star as soon as \u003cem>Euphoria\u003c/em> hit TV screens in 2019. Given the near-impossible task of making a violent drug dealer a character to root for, Cloud went one step further and succeeded in making Fezco O’Neill the most lovable character in the whole show. Cloud brought an indescribable depth and well of emotion to the screen, despite delivering almost all of his lines in his naturally slow monotone. In Cloud’s masterful hands, a sly glance or a subtle shoulder hunch said more than any dialog could.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cloud’s \u003cem>Euphoria\u003c/em> co-star and fellow Oaklander \u003ca href=\"https://www.instagram.com/p/Cvaft3SL4Zr/\">Zendaya dedicated an Instagram post to him\u003c/a> on Tuesday. “Words are not enough to describe the infinite beauty that is Angus,” she wrote. “I’m so grateful I got the chance to know him in this life, to call him a brother, to see his warm kind eyes and bright smile, or hear his infectious cackle of a laugh.” She went on: “I’d like to remember him that way. For all of the boundless light, love and joy he always managed to give us. I’ll cherish every moment.”\u003c/p>\n\u003cfigure id=\"attachment_13932507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg\" alt=\"A young mixed race woman wearing a black suit and purple shirt drapes one arm over the shoulder of a smiling, bearded white man who is wearing a tuxedo.\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/GettyImages-1388131771-scaled-e1690925992319.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Zendaya and Angus Cloud at the 2022 ‘Vanity Fair’ Oscar Party. \u003ccite>(Matt Winkelmeyer/ VF22/ WireImage for Vanity Fair)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud’s standout performance on \u003cem>Euphoria\u003c/em> won him small roles in 2021’s \u003ca href=\"https://www.imdb.com/title/tt11165716/?ref_=nm_flmg_t_5_act\">\u003cem>North Hollywood\u003c/em>\u003c/a> and 2023’s \u003ca href=\"https://www.imdb.com/title/tt10092170/\">\u003cem>The Line\u003c/em>\u003c/a>. He has three more movies set for release in the coming months. These include \u003ca href=\"https://www.imdb.com/title/tt16424988/?ref_=nm_flmg_unrel_2_act\">\u003cem>Your Lucky Day\u003c/em>\u003c/a> (a thriller set in a convenience store), an as-yet-unnamed horror project for Universal, and\u003ca href=\"https://www.imdb.com/title/tt21942598/\"> \u003cem>Freaky Tales\u003c/em>\u003c/a>, which weaves together four separate stories unfolding in 1987 Oakland.\u003c/p>\n\u003cp>Justin “Jwalt” Walton, who attended \u003ca href=\"https://www.oakarts.org/\">Oakland School for the Arts\u003c/a> with Cloud, said it meant a great deal to his friend to work on a project set in Oakland.\u003c/p>\n\u003cp>“He was Oakland to the fullest and always made sure people knew where he was from,” Walton told KQED Arts via text. “He was proud to be from the town and supported everything and everyone coming from [here]. No matter where he went he always stayed true to himself and what he knew. He was a friend, a great spirit, and big brother to me.”\u003c/p>\n\u003cfigure id=\"attachment_13932545\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13932545 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png\" alt=\"A large scale black and white painting of a young man, on a brick wall. The word Angus is painted in white next to the portrait. On the floor near the mural is a collection of candles.\" width=\"800\" height=\"498\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-800x498.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1020x635.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-768x478.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM-1536x956.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.13.13-AM.png 1568w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">After news of his death broke, artists quickly painted a mural honoring Cloud on the back wall of Markato Auto Detail, at the intersection of Park Blvd. and E. 19th St. in Oakland. Cloud’s portrait is accompanied by the phrases “Long live Angus” and “We love you.” Artists include Darin, M27, Silent, Kalonsta, Mag Dre, Grame and Baby Dee. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cloud graduated from OSA in 2016, despite \u003ca href=\"https://variety.com/2022/tv/features/angus-cloud-broken-skull-euphoria-icon-1235336673/\">breaking his skull falling down a massive construction pit\u003c/a> in downtown Oakland at the age of 15, and suffering minor brain damage. Kev Choice, who taught at the school when Cloud was a student, \u003ca href=\"https://www.instagram.com/p/CvaZqiIvxCb/?igshid=MzRlODBiNWFlZA%3D%3D\">remembered him fondly in a post on Instagram\u003c/a>.\u003c/p>\n\u003cp>“Like many in my Oakland community, and around the world, my heart is heavy,” Choice wrote. “I remember vividly seeing him walking around the [OSA] campus and hanging with my students. He had an energy and presence that always stood out and was definitely loved amongst his peers and school community … He reflected the natural brilliance of a lot of our youth, his peers, community, and represented Oakland to the fullest in every way.”\u003c/p>\n\u003cp>During Cloud’s high school years, he also interned at \u003ca href=\"https://yr.media/\">Youth Radio\u003c/a>’s \u003ca href=\"https://adp.fm/\">All Day Play\u003c/a> radio station. Former station manager Ben Frost remembers Cloud as “a kind of quirky, artistic kid who really didn’t give a fuck about anyone’s take on him.” Frost, like most people in Cloud’s private life, refers to the actor by his birth name, Conor. (Angus was Cloud’s middle name.)\u003c/p>\n\u003cp>“He was just a very visually creative young kid … a skater and a graffiti kid,” Frost told KQED Arts. “[San Jose DJ \u003ca href=\"https://www.instagram.com/THE_CME/\">Cory “The C.M.E.” Randolph\u003c/a>] and his crew had this show on the station for a while called \u003cem>Oops Upside Your Head\u003c/em> and Conor did this one artwork for them that was so freaking good, I was blown away by it. I was trying to convince them to make T-shirts and stuff out of it.”\u003c/p>\n\u003cp>For Frost, watching Cloud become a respected actor and fashion VIP was surreal. “It was crazy to me to just know that this wavy kid who was somewhat of a wild young man was suddenly this international icon,” he said. “He was just a very kind, humble dude who was very sincerely into the art.”\u003c/p>\n\u003cfigure id=\"attachment_13932549\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg\" alt=\"Four square graphics featuring graffiti-style lettering in bright colors. One says 'Sick Sad.' Another says 'All Day Players.' Another says 'Streets is Talking.'\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-2048x2048.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Angus-Cloud-artwork-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artwork made by a young Angus Cloud during his time interning at Youth Radio. “We’d go through all of the lessons about how everyone does normal graphic design,” Frost says. “He’d be like, ‘Yeah, I’m just going to hand draw it all with the mouse…’” \u003ccite>(Courtesy of Ben Frost)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One of the places Cloud skated in his formative years was \u003ca href=\"https://blog.skateboard.com.au/skateparks/united-states-of-america/town-park-skatepark/\">Town Park Skatepark\u003c/a> in West Oakland. Town Park founder and artist K-Dub told KQED Arts that, even post-fame, Cloud had kept in touch with him and other friends from the park.\u003c/p>\n\u003cp>“It says something about that tight-knit community of skaters and young people trying to find themselves in this wacky world,” K-Dub said. “[Cloud] was part of a crew that would show up after school and help out when we were working on the ramps and everything. He and his friends would skate and film each other. They were a tight crew.”\u003c/p>\n\u003cp>K-Dub continued: “Hopefully, for our Oakland youth, they know that being creative and following your dreams as an outlet should always be a goal. And should have support. Sometimes you don’t know how much you’re supported … And things like this is when the town kind of puts its arms around you and says, ‘Hey, we recognize you and we appreciate you and love you’. Our Town Park kids are very proud of him.”\u003c/p>\n\u003cfigure id=\"attachment_13932546\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13932546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png\" alt=\"A priority mail address sticker decorated with two clouds - one with a happy face, one shedding a tear - stuck to a post in front of a graffiti'd wall. The clouds have the word ANGUS scrawled between them.\" width=\"800\" height=\"531\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-800x531.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1020x677.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM-1536x1020.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/08/Screen-Shot-2023-08-02-at-10.20.44-AM.png 1614w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A homemade tribute to Cloud, stuck to a post near the new mural of him in Oakland. \u003ccite>(Ryce Stoughtenborough)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Oakland School for the Arts also expressed pride over Cloud’s achievements in \u003ca href=\"http://www.oakarts.org/announcements/?capostid=74109\">a tribute to the actor on their website\u003c/a> posted on Monday afternoon. The school called his death a “tremendous loss.” The statement also noted: “Angus is remembered as a multifaceted and talented artist in Instrumental Music, Digital Media and Production Design who had a huge presence at OSA … We are equally proud of Angus’ artistic accomplishments in his career since graduating.”\u003c/p>\n\u003cp>Cloud was big brother to twins Molly and Fiona, and son to Lisa Cloud and Conor Hickey. Hickey originally hailed from Ireland, and died there on May 18 after a brief illness. Cloud posted \u003ca href=\"https://www.instagram.com/p/CurfSsxsZQJ/?hl=en\">a photo of his father\u003c/a> to Instagram on July 14, captioned simply, “miss u breh.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story contains additional reporting by \u003ca href=\"https://www.kqed.org/author/achazaro\">Alan Chazaro\u003c/a> and \u003ca href=\"https://www.kqed.org/author/ogpenn\">Pendarvis Harshaw\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When drummer \u003ca href=\"https://www.instagram.com/yoyoka_drums/?hl=en\">Yoyoka Soma\u003c/a> first rocketed into internet stardom in 2018, millions swarmed to her videos, proclaiming her the next big star in rock ‘n’ roll. Soma, then an elementary school student living in Hokkaido, Japan, seemed to already possess musical sensibilities some adults spend their whole lives training for.\u003c/p>\n\u003cp>Watching her was hypnotic: Music seemed to take over her entire body. Each hit of the cymbal appeared to electrify her limbs, powering the next succession of passionate and coordinated movements. Her expressions bounced from playful to focused, but never strained. It looked impossibly easy for her — even at age 7.[aside label=\"Related Stories\" postID=\"arts_13912562\"]\u003c/p>\n\u003cp>For as long as she can remember, drums have provided the musician an oasis from stress, frustration and unease. “If I have nerves, I sit at the drums and it’s gone,” says Soma, now 13, in a recent interview at her current home in Oakland. “I don’t know why but …they disappear once I sit at my drum set.”\u003c/p>\n\u003cp>Soma has lived in the Bay Area with her family — father Akifumi, mother Rie and younger brother Shido — since late 2022. Last fall, the Soma family decided to move to the states so that Soma could explore and grow more freely as a musician, uninhibited by their native Japan’s school system, which she describes as more traditional. Soma is currently in seventh grade at Oakland School for the Arts, where she is learning jazz and blues drum techniques that push her beyond her proclivity for the rock genre. When recalling music classes in Japan, Soma remembers their limitations.\u003c/p>\n\u003cfigure id=\"attachment_13926106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"A family of four people, Japanese immigrants, smile for a portrait outside in front of trees: a teenage girl, her father, her younger brother and her mother\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma (left) poses for a photo with her dad Akifumi, mom Rie and younger brother Shido near their home in Oakland. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s totally different because my Japanese school was not an arts school,” says Soma. “Class was very traditional: there was just the recorder, singing, piano and harmonica. I like those but there was no choice. So I couldn’t play the drums.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Discouraged at school, Soma would pour herself into the drums at home — an instrument she’d been learning since she was one. Her parents, also musicians, were supportive and often held jam sessions where they’d play along to their favorite songs together — eventually forming their family band, KANEAIYOYOKA.\u003c/p>\n\u003cp>When Akifumi and Rie began uploading her \u003ca href=\"https://www.youtube.com/@yoyoka_soma/featured\">solo cover videos to YouTube\u003c/a> in 2015, she steadily amassed an audience. In 2018, that audience exploded following a viral cover of the 1969 Led Zeppelin track “Good Times Bad Times.” In it, a younger Soma sports a short bowl cut, crinkling her nose and smiling as she plays to the song’s energetic and varied tempos. Over the next couple of years, her covers of other American rock staples like Nirvana’s “Smells Like Teen Spirit” gained massive views and earned her two guest appearances on \u003cem>The Ellen Show\u003c/em> in 2019.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=91pz1E8pAOY\u003c/p>\n\u003cp>But in recent conversations, the online attention and acclaim she received during that period don’t really come up. Lately, Soma is fully occupied with school, practice, gigs and filming videos and live streams for her subscribers. During the week, she begins most mornings first sleeping through her 6:30 a.m. alarm before trudging to the kitchen for breakfast and heading out for school. From 8 a.m. to 4:30 p.m., she works through a packed schedule of English, music, social studies, math and life science courses before heading home for individual drum practice, dinner and more practice with family. “I’m so tired every day, most recently,” she says.\u003c/p>\n\u003cp>While her music classes in Japan felt a bit sterile and restricted, Soma says her current music courses are full of energy and chaos — sometimes to a fault. There is constant noise and a rowdiness that Soma has had trouble adjusting to. “My friends are so loud, [specifically] the boys,” she says. “I don’t like it — that part. But I have new experiences every day and I can learn [techniques] outside of rock music.”\u003c/p>\n\u003cp>As she navigates this new setting, her greatest challenge is following along and understanding the material in English during her other classes. “Everyday, [I think]: ‘What are you talking about, teacher?’” says Soma. “My friends are so kind, like speaking a bit slowly. But in class, I don’t know! It’s the most difficult thing.”\u003c/p>\n\u003cfigure id=\"attachment_13926086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"a young Japanese girl plays the drums while smiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma says the language barrier has been difficult since moving to the U.S. — but music helps bridge the gaps. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her alone time, she often retreats to nature or returns to her drum set at home to clear her head. These long school days, crammed with confusing lectures and new concepts taught in a language she has not yet grasped, are often overwhelming. In a recurring dream, she attends a school where the language barrier she currently struggles with is nonexistent.\u003c/p>\n\u003cp>“Everyone speaks different languages, but I hear Japanese,” says Soma. “I like that dream. All the time. Every day, I go to that dream.”\u003c/p>\n\u003cp>While Soma grapples with language obstacles, music and art allow her to fill in those gaps of understanding with others. During jam sessions with her classmates and other Bay Area artists, there is sometimes a moment of silent magic: where the groove and rhythm sync up between musicians and they’re able to improvise something unique to their musical connection. These sessions also act as keys that unlock new landscapes of sounds, genres and histories — allowing for an exchange of ideas and emotions without having to speak a word.\u003c/p>\n\u003cp>Since moving to the East Bay, Soma has jammed with Oakland singer-songwriter Fantastic Negrito, whose soulful songs that combine blues, roots rock and country have inspired her to learn more about genre-blending music. Her friends at school have introduced her to an array of hip-hop and rap, where the art of sampling and revamping older songs and beats is generative and full of possibility. Music has offered her a new way of expanding her relationships, not only with new friends and fellow musicians, but with Oakland and herself.\u003c/p>\n\u003cfigure id=\"attachment_13926085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926085\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"a four-person Japanese family sit in a home music studio practicing instruments and smiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma and her family practice for their band, Kaneaiyoyoka, at their home in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving forward, Soma doesn’t have many long term plans sketched out. She wants to eventually make albums, have more jam sessions and perform at more events. But she also wants to read books, drink chocolate milk with her schoolmates, run around outside with her brother Shido and visit the Oakland Zoo. The pressure of being held in such high regard — and on a very public scale — isn’t really at the forefront of her mind. Soma, for all her talent and gifts, is still a young teen adjusting to completely new surroundings. In this current stage of life, of uncertainty and adaptation, she is inspired by the everyday: By moments of spontaneity that she translates through her rebellious, spirited playing.\u003c/p>\n\u003cp>“Any creation of mine can be music. It should be natural until I die,” says Soma. “If I can give some courage or confidence to people, I want to be that person. I want to [give] back.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PKMlpDgg64E\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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Yoyoka Soma will perform at Notes & Words, an annual benefit concert for UCSF Benioff Children’s Hospitals, on March 25. \u003ca href=\"https://www.notesandwords.org/\">Tickets and information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When drummer \u003ca href=\"https://www.instagram.com/yoyoka_drums/?hl=en\">Yoyoka Soma\u003c/a> first rocketed into internet stardom in 2018, millions swarmed to her videos, proclaiming her the next big star in rock ‘n’ roll. Soma, then an elementary school student living in Hokkaido, Japan, seemed to already possess musical sensibilities some adults spend their whole lives training for.\u003c/p>\n\u003cp>Watching her was hypnotic: Music seemed to take over her entire body. Each hit of the cymbal appeared to electrify her limbs, powering the next succession of passionate and coordinated movements. Her expressions bounced from playful to focused, but never strained. It looked impossibly easy for her — even at age 7.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For as long as she can remember, drums have provided the musician an oasis from stress, frustration and unease. “If I have nerves, I sit at the drums and it’s gone,” says Soma, now 13, in a recent interview at her current home in Oakland. “I don’t know why but …they disappear once I sit at my drum set.”\u003c/p>\n\u003cp>Soma has lived in the Bay Area with her family — father Akifumi, mother Rie and younger brother Shido — since late 2022. Last fall, the Soma family decided to move to the states so that Soma could explore and grow more freely as a musician, uninhibited by their native Japan’s school system, which she describes as more traditional. Soma is currently in seventh grade at Oakland School for the Arts, where she is learning jazz and blues drum techniques that push her beyond her proclivity for the rock genre. When recalling music classes in Japan, Soma remembers their limitations.\u003c/p>\n\u003cfigure id=\"attachment_13926106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"A family of four people, Japanese immigrants, smile for a portrait outside in front of trees: a teenage girl, her father, her younger brother and her mother\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma (left) poses for a photo with her dad Akifumi, mom Rie and younger brother Shido near their home in Oakland. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s totally different because my Japanese school was not an arts school,” says Soma. “Class was very traditional: there was just the recorder, singing, piano and harmonica. I like those but there was no choice. So I couldn’t play the drums.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Discouraged at school, Soma would pour herself into the drums at home — an instrument she’d been learning since she was one. Her parents, also musicians, were supportive and often held jam sessions where they’d play along to their favorite songs together — eventually forming their family band, KANEAIYOYOKA.\u003c/p>\n\u003cp>When Akifumi and Rie began uploading her \u003ca href=\"https://www.youtube.com/@yoyoka_soma/featured\">solo cover videos to YouTube\u003c/a> in 2015, she steadily amassed an audience. In 2018, that audience exploded following a viral cover of the 1969 Led Zeppelin track “Good Times Bad Times.” In it, a younger Soma sports a short bowl cut, crinkling her nose and smiling as she plays to the song’s energetic and varied tempos. Over the next couple of years, her covers of other American rock staples like Nirvana’s “Smells Like Teen Spirit” gained massive views and earned her two guest appearances on \u003cem>The Ellen Show\u003c/em> in 2019.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91pz1E8pAOY'\n title='//www.youtube.com/embed/91pz1E8pAOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in recent conversations, the online attention and acclaim she received during that period don’t really come up. Lately, Soma is fully occupied with school, practice, gigs and filming videos and live streams for her subscribers. During the week, she begins most mornings first sleeping through her 6:30 a.m. alarm before trudging to the kitchen for breakfast and heading out for school. From 8 a.m. to 4:30 p.m., she works through a packed schedule of English, music, social studies, math and life science courses before heading home for individual drum practice, dinner and more practice with family. “I’m so tired every day, most recently,” she says.\u003c/p>\n\u003cp>While her music classes in Japan felt a bit sterile and restricted, Soma says her current music courses are full of energy and chaos — sometimes to a fault. There is constant noise and a rowdiness that Soma has had trouble adjusting to. “My friends are so loud, [specifically] the boys,” she says. “I don’t like it — that part. But I have new experiences every day and I can learn [techniques] outside of rock music.”\u003c/p>\n\u003cp>As she navigates this new setting, her greatest challenge is following along and understanding the material in English during her other classes. “Everyday, [I think]: ‘What are you talking about, teacher?’” says Soma. “My friends are so kind, like speaking a bit slowly. But in class, I don’t know! It’s the most difficult thing.”\u003c/p>\n\u003cfigure id=\"attachment_13926086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"a young Japanese girl plays the drums while smiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma says the language barrier has been difficult since moving to the U.S. — but music helps bridge the gaps. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her alone time, she often retreats to nature or returns to her drum set at home to clear her head. These long school days, crammed with confusing lectures and new concepts taught in a language she has not yet grasped, are often overwhelming. In a recurring dream, she attends a school where the language barrier she currently struggles with is nonexistent.\u003c/p>\n\u003cp>“Everyone speaks different languages, but I hear Japanese,” says Soma. “I like that dream. All the time. Every day, I go to that dream.”\u003c/p>\n\u003cp>While Soma grapples with language obstacles, music and art allow her to fill in those gaps of understanding with others. During jam sessions with her classmates and other Bay Area artists, there is sometimes a moment of silent magic: where the groove and rhythm sync up between musicians and they’re able to improvise something unique to their musical connection. These sessions also act as keys that unlock new landscapes of sounds, genres and histories — allowing for an exchange of ideas and emotions without having to speak a word.\u003c/p>\n\u003cp>Since moving to the East Bay, Soma has jammed with Oakland singer-songwriter Fantastic Negrito, whose soulful songs that combine blues, roots rock and country have inspired her to learn more about genre-blending music. Her friends at school have introduced her to an array of hip-hop and rap, where the art of sampling and revamping older songs and beats is generative and full of possibility. Music has offered her a new way of expanding her relationships, not only with new friends and fellow musicians, but with Oakland and herself.\u003c/p>\n\u003cfigure id=\"attachment_13926085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926085\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"a four-person Japanese family sit in a home music studio practicing instruments and smiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma and her family practice for their band, Kaneaiyoyoka, at their home in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving forward, Soma doesn’t have many long term plans sketched out. She wants to eventually make albums, have more jam sessions and perform at more events. But she also wants to read books, drink chocolate milk with her schoolmates, run around outside with her brother Shido and visit the Oakland Zoo. The pressure of being held in such high regard — and on a very public scale — isn’t really at the forefront of her mind. Soma, for all her talent and gifts, is still a young teen adjusting to completely new surroundings. In this current stage of life, of uncertainty and adaptation, she is inspired by the everyday: By moments of spontaneity that she translates through her rebellious, spirited playing.\u003c/p>\n\u003cp>“Any creation of mine can be music. It should be natural until I die,” says Soma. “If I can give some courage or confidence to people, I want to be that person. I want to [give] back.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PKMlpDgg64E'\n title='//www.youtube.com/embed/PKMlpDgg64E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Yoyoka Soma will perform at Notes & Words, an annual benefit concert for UCSF Benioff Children’s Hospitals, on March 25. \u003ca href=\"https://www.notesandwords.org/\">Tickets and information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Inside of Oakland School of The Arts’ classroom 302, there’s a bi-weekly student-run talent showcase unlike any other. Ok, well, it’s kind of like NPR’s \u003cem>Tiny Desk\u003c/em> concert series, except this one is run by teenagers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s called \u003cem>Off The Table\u003c/em>, and it was created two years ago after a student-artist named Ajai Kasim had a conversation with singer and educator, Cava Menzies. Menzies, who’s been involved with the school since it was founded in 2000, is the lead instructor in the class, giving students guidance on performance techniques and tips on back end production. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ajai Kasim - OSA Off The Table Series\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/xjpYu_J5Nh4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, OSA, the arts magnet school that’s produced so many talented pupils—including the likes of Kehlani and Zendaya—is regularly showcasing the next wave of talent of the East Bay and \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCpHAUEX-EWAoAEV1L1pWlgQ\">\u003cspan style=\"font-weight: 400\">posting it online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the world to see. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/OffTheTable_800_OliverTuttle-800x535.jpg\" alt=\"Oliver Tuttle, the student performer you hear playing the trombone in this week's episode.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/OffTheTable_800_OliverTuttle.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/OffTheTable_800_OliverTuttle-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/OffTheTable_800_OliverTuttle-768x514.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Tuttle, the student performer you hear playing the trombone in this week’s episode. \u003ccite>(Pendarvis Harshaw / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this week’s episode of \u003cem>Rightnowish\u003c/em>, I attended one of these \u003cem>Off The Table\u003c/em> jam sessions, and talked to Cava Menzies about the significance of this space she co-created. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Inside of Oakland School of The Arts’ classroom 302, there’s a bi-weekly student-run talent showcase unlike any other. Ok, well, it’s kind of like NPR’s \u003cem>Tiny Desk\u003c/em> concert series, except this one is run by teenagers. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s called \u003cem>Off The Table\u003c/em>, and it was created two years ago after a student-artist named Ajai Kasim had a conversation with singer and educator, Cava Menzies. Menzies, who’s been involved with the school since it was founded in 2000, is the lead instructor in the class, giving students guidance on performance techniques and tips on back end production. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Ajai Kasim - OSA Off The Table Series\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/xjpYu_J5Nh4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Now, OSA, the arts magnet school that’s produced so many talented pupils—including the likes of Kehlani and Zendaya—is regularly showcasing the next wave of talent of the East Bay and \u003c/span>\u003ca href=\"https://www.youtube.com/channel/UCpHAUEX-EWAoAEV1L1pWlgQ\">\u003cspan style=\"font-weight: 400\">posting it online\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> for the world to see. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13870264\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13870264\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/OffTheTable_800_OliverTuttle-800x535.jpg\" alt=\"Oliver Tuttle, the student performer you hear playing the trombone in this week's episode.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/OffTheTable_800_OliverTuttle.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/OffTheTable_800_OliverTuttle-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/OffTheTable_800_OliverTuttle-768x514.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Oliver Tuttle, the student performer you hear playing the trombone in this week’s episode. \u003ccite>(Pendarvis Harshaw / KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">For this week’s episode of \u003cem>Rightnowish\u003c/em>, I attended one of these \u003cem>Off The Table\u003c/em> jam sessions, and talked to Cava Menzies about the significance of this space she co-created. \u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Advice From Justin Bua to Oakland’s Next Generation of Artists",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>uis Lopez walked into SoleSpace in downtown Oakland last week with his classmates from Oakland School for the Arts for a brief lecture from renowned artist Justin Bua.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Lopez strolled right past the shoes on the sales racks and the mounted images of Bua’s work and randomly introduced himself to me, an unassuming guy holding a camera in the back of the room. I quickly learned that Lopez is a music producer, and just recently started rapping over his own beats. One of his friends chimed in, calling him by his stage name, “Casso,” inspired by Picasso. Why Picasso?\u003c/p>\n\u003cp>Because, Lopez told me, he wants to make art that lasts.\u003c/p>\n\u003cp>Just then, it was time to hear from Bua, the prolific New York-raised painter, illustrator and entrepreneur. Bua was in town for an annual event, called Art For the People; every year he chooses one city in the world and sets up shop, selling prints of his work at discounted prices and donating a portion of the proceeds to a noble cause—and this time, it was Oakland School for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13840715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a fitting event for SoleSpace, a shoe store that doubles as a community space. Run by Jeff Perlstein, it’s located in the heart of where the change is happening in Oakland. The place sells shoes to keep the lights on, but over the years they’ve hosted political rallies, small live performances, movie screenings, and Warriors viewing parties. It’s one of the few spaces in downtown Oakland where artists, activists and creative types gather.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A middle-aged man who hasn’t lost his cool-kid look, Bua told the students at SoleSpace his origin story, about how he started as a graffiti bomber in Harlem during hip-hop’s golden era. After his teenage years tagging trains and hopping rooftops in uptown, he eventually matured into an arts scholar, attending ArtCenter College of Design, what he called “the Harvard of arts schools.”\u003c/p>\n\u003cp>His career took off when he started producing exaggerated images of jazz and hip-hop characters. “At one point I was selling more posters than any artist on planet earth,” Bua told the seated students. Since, he’s kept up that commercial momentum with work on video games like \u003cem>NBA Street\u003c/em>, as well as music videos like Slum Village’s “Tainted.” He’s done jewelry, phone cases, skateboards, images for films and TV shows.\u003c/p>\n\u003cp>Having worked as an arts educator, he talked art history through a hip-hop lens, mentioning classical artists, modern artists and graffiti writers in the same sentence. He managed to mix in an S-word here and an MF-bomb there, keeping the young people’s attention.\u003c/p>\n\u003cp>And in the end, Bua had two main points for those in attendance. First, dedicate yourself to art, right now. Secondly, don’t confine yourself to one kind of art.\u003c/p>\n\u003cfigure id=\"attachment_13840717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg\" alt=\"Some of Justin Bua's work displayed at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of Justin Bua’s work displayed at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of Bua’s more well-known pieces, an \u003ca href=\"https://justinbua.com/products/the-dj\" target=\"_blank\" rel=\"noopener noreferrer\">image of a DJ\u003c/a> on the turntables, looked familiar. It brought me back to my teenage days—did I have it as a binder folder when I was in school?\u003c/p>\n\u003cp>He said it dropped in 2001, around the time I was going through puberty and initially committed myself to writing everyday.\u003c/p>\n\u003cp>Funny, back then, I was like “Casso,” looking to create art that lasts, and going through a pivot—I was growing from a poet to a rapper, and using a “stage name.” All the while, unbeknownst to me, I was sowing the seeds of what would become a career as a journalist: the ability to observe the vibe of my peers, to think on my feet and to ask critical questions that yield fruitful answers. I did in through lyrics then, and to this day, I’m still learning how to move a crowd merely by using words.\u003c/p>\n\u003cp>Crazy to think of how far one person can go with a simple talent: drawing in Bua’s case, storytelling in my case, and hopefully, music making for Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13840716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Bua’s credit, he didn’t get stuck where he initially achieved success. And he had clear understanding of why it worked when it did. He struck gold with his images, he said, because he was at the right place at the right time. “I was painting hip-hop narratives at a time no one thought you could do that,” he said. “No one thought that was marketable.”\u003c/p>\n\u003cp>I couldn’t help but notice the logo for Bua’s company, a silhouette of a man with an afro, complete with an afro pick and a fist on the end of it, painted on the large wall behind where Bua was sitting. Another version of it adorned the pendant dangling from Bua’s necklace. When I asked Bua, who’s Puerto Rican and Jewish, where the logo came from, he said it’s based on an image from his first book, \u003cem>The Beat of Urban Art\u003c/em>, and was inspired by the folks he’d see in his neighborhood as a kid.\u003c/p>\n\u003cp>He got his start by simply drawing what was around him, he said, but lately he’s been exploring more angles, noting his depictions of Anthony Bourdain and even professional golfer Phil Mickelson as examples of expanding his craft.\u003c/p>\n\u003cp>I laughed, even his answer about navigating depictions of race in art stayed true to his message of evolution; it’s like the only that doesn’t change about Bua is his need to constantly change.\u003c/p>\n\u003cfigure id=\"attachment_13840718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat was further evidenced by his response to a student’s question about the future of his work. Bua said he’s just trying to get better, constantly. “Michelangelo was 81 when he said he was just beginning to learn how to draw,” Bua told the students.\u003c/p>\n\u003cp>When the conversation concluded, the students stepped forward to get free prints of some of Bua’s work. I caught up to Lopez, a.k.a. Casso, who told me he liked the presentation and showed me the print he picked up.\u003c/p>\n\u003cp>I walked out of the event still holding my camera, thinking more about Lopez’s career path than Bua’s. At age 16, Lopez is already doing what Bua had suggested. He’s dedicated himself to being an artist, for the long term. On top of that, he’s already pivoting; or rather, evolving.\u003c/p>\n\u003cp>It kind of makes me question, what’s next for me?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>uis Lopez walked into SoleSpace in downtown Oakland last week with his classmates from Oakland School for the Arts for a brief lecture from renowned artist Justin Bua.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>Lopez strolled right past the shoes on the sales racks and the mounted images of Bua’s work and randomly introduced himself to me, an unassuming guy holding a camera in the back of the room. I quickly learned that Lopez is a music producer, and just recently started rapping over his own beats. One of his friends chimed in, calling him by his stage name, “Casso,” inspired by Picasso. Why Picasso?\u003c/p>\n\u003cp>Because, Lopez told me, he wants to make art that lasts.\u003c/p>\n\u003cp>Just then, it was time to hear from Bua, the prolific New York-raised painter, illustrator and entrepreneur. Bua was in town for an annual event, called Art For the People; every year he chooses one city in the world and sets up shop, selling prints of his work at discounted prices and donating a portion of the proceeds to a noble cause—and this time, it was Oakland School for the Arts.\u003c/p>\n\u003cfigure id=\"attachment_13840715\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840715\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9659-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a fitting event for SoleSpace, a shoe store that doubles as a community space. Run by Jeff Perlstein, it’s located in the heart of where the change is happening in Oakland. The place sells shoes to keep the lights on, but over the years they’ve hosted political rallies, small live performances, movie screenings, and Warriors viewing parties. It’s one of the few spaces in downtown Oakland where artists, activists and creative types gather.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A middle-aged man who hasn’t lost his cool-kid look, Bua told the students at SoleSpace his origin story, about how he started as a graffiti bomber in Harlem during hip-hop’s golden era. After his teenage years tagging trains and hopping rooftops in uptown, he eventually matured into an arts scholar, attending ArtCenter College of Design, what he called “the Harvard of arts schools.”\u003c/p>\n\u003cp>His career took off when he started producing exaggerated images of jazz and hip-hop characters. “At one point I was selling more posters than any artist on planet earth,” Bua told the seated students. Since, he’s kept up that commercial momentum with work on video games like \u003cem>NBA Street\u003c/em>, as well as music videos like Slum Village’s “Tainted.” He’s done jewelry, phone cases, skateboards, images for films and TV shows.\u003c/p>\n\u003cp>Having worked as an arts educator, he talked art history through a hip-hop lens, mentioning classical artists, modern artists and graffiti writers in the same sentence. He managed to mix in an S-word here and an MF-bomb there, keeping the young people’s attention.\u003c/p>\n\u003cp>And in the end, Bua had two main points for those in attendance. First, dedicate yourself to art, right now. Secondly, don’t confine yourself to one kind of art.\u003c/p>\n\u003cfigure id=\"attachment_13840717\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840717\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg\" alt=\"Some of Justin Bua's work displayed at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9638-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Some of Justin Bua’s work displayed at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>ne of Bua’s more well-known pieces, an \u003ca href=\"https://justinbua.com/products/the-dj\" target=\"_blank\" rel=\"noopener noreferrer\">image of a DJ\u003c/a> on the turntables, looked familiar. It brought me back to my teenage days—did I have it as a binder folder when I was in school?\u003c/p>\n\u003cp>He said it dropped in 2001, around the time I was going through puberty and initially committed myself to writing everyday.\u003c/p>\n\u003cp>Funny, back then, I was like “Casso,” looking to create art that lasts, and going through a pivot—I was growing from a poet to a rapper, and using a “stage name.” All the while, unbeknownst to me, I was sowing the seeds of what would become a career as a journalist: the ability to observe the vibe of my peers, to think on my feet and to ask critical questions that yield fruitful answers. I did in through lyrics then, and to this day, I’m still learning how to move a crowd merely by using words.\u003c/p>\n\u003cp>Crazy to think of how far one person can go with a simple talent: drawing in Bua’s case, storytelling in my case, and hopefully, music making for Lopez.\u003c/p>\n\u003cfigure id=\"attachment_13840716\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840716\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9642-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To Bua’s credit, he didn’t get stuck where he initially achieved success. And he had clear understanding of why it worked when it did. He struck gold with his images, he said, because he was at the right place at the right time. “I was painting hip-hop narratives at a time no one thought you could do that,” he said. “No one thought that was marketable.”\u003c/p>\n\u003cp>I couldn’t help but notice the logo for Bua’s company, a silhouette of a man with an afro, complete with an afro pick and a fist on the end of it, painted on the large wall behind where Bua was sitting. Another version of it adorned the pendant dangling from Bua’s necklace. When I asked Bua, who’s Puerto Rican and Jewish, where the logo came from, he said it’s based on an image from his first book, \u003cem>The Beat of Urban Art\u003c/em>, and was inspired by the folks he’d see in his neighborhood as a kid.\u003c/p>\n\u003cp>He got his start by simply drawing what was around him, he said, but lately he’s been exploring more angles, noting his depictions of Anthony Bourdain and even professional golfer Phil Mickelson as examples of expanding his craft.\u003c/p>\n\u003cp>I laughed, even his answer about navigating depictions of race in art stayed true to his message of evolution; it’s like the only that doesn’t change about Bua is his need to constantly change.\u003c/p>\n\u003cfigure id=\"attachment_13840718\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13840718\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg\" alt=\"Justin Bua talks with students at SoleSpace in downtown Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/09/LRG-DSC9645-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Justin Bua talks with students at SoleSpace in downtown Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>hat was further evidenced by his response to a student’s question about the future of his work. Bua said he’s just trying to get better, constantly. “Michelangelo was 81 when he said he was just beginning to learn how to draw,” Bua told the students.\u003c/p>\n\u003cp>When the conversation concluded, the students stepped forward to get free prints of some of Bua’s work. I caught up to Lopez, a.k.a. Casso, who told me he liked the presentation and showed me the print he picked up.\u003c/p>\n\u003cp>I walked out of the event still holding my camera, thinking more about Lopez’s career path than Bua’s. At age 16, Lopez is already doing what Bua had suggested. He’s dedicated himself to being an artist, for the long term. On top of that, he’s already pivoting; or rather, evolving.\u003c/p>\n\u003cp>It kind of makes me question, what’s next for me?\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw is the author of ‘\u003ca href=\"http://www.latimes.com/local/abcarian/la-me-abcarian-og-harshaw-20170409-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">OG Told Me\u003c/a>,’ a memoir about growing up in Oakland. Find him on Twitter \u003ca href=\"https://twitter.com/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
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"title": "TED Radio Hour",
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