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In the wake of the A’s departure from Oakland, the East Bay-raised rock star has since switched his allegiance to the Oakland Ballers, joining rapper Too Short as an investor in the franchise. \u003ccite>(Michael Zagaris/Oakland Athletics/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last year, Green Day frontman Billie Joe Armstrong \u003ca href=\"https://www.youtube.com/watch?v=6233qjZSTuE\">posted an video\u003c/a> from the Rogers Center in Toronto, showing the East Bay-raised rock star spray painting over the stadium’s Oakland A’s logo with an \u003ca href=\"https://www.instagram.com/p/C-JvddatdD3/?img_index=1\" target=\"_blank\" rel=\"noopener\">Oakland Ballers logo\u003c/a>. The video, in a way, foreshadowed this week’s news.\u003c/p>\n\u003cp>The Oakland Ballers have announced that Armstrong, along with pioneering Oakland rapper and entrepreneur Too Short, are now investors in the Ballers. They join a long list of fans who also own a portion of the team.\u003c/p>\n\u003cp>\u003ca href=\"https://www.oaklandballers.com/landing/index\" target=\"_blank\" rel=\"noopener\">The Ballers\u003c/a>, a second-year professional baseball franchise that plays in the independent Pioneer League, hosts their home games at West Oakland’s Raimondi Park. Last year, over the course of 48 home games, the team attracted more than 92,000 fans.\u003c/p>\n\u003cp>[aside postID='arts_13960687']Ahead of the inaugural season, the team’s founders, Bryan Carmel and Paul Freedman, opened the doors to potential investors. They hoped that local sports fans who’ve been dismayed by other franchises leaving Oakland would show up — and they did.\u003c/p>\n\u003cp>2,200 people raised over $1.2 million dollars in support of the team. The Ballers are back at it this year, looking to raise $2 million. With the social collateral that Armstrong and Too Short bring, the team is well on its way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We’re delighted that Too $hort and Billie Joe Armstrong will be joining our ownership group, along with thousands of Oakland fan owners,” said Ballers co-founder Paul Freedman in\u003ca href=\"https://www.oaklandballers.com/news/2025/03/too-short-billie-joe-armstrong-owner-community-invest\" target=\"_blank\" rel=\"noopener\"> a statement\u003c/a>. “These two local legends were real supporters in our first season, and it’s great to now have them on board in a more formal capacity.”\u003c/p>\n\u003cp>https://x.com/OaklandBallers/status/1809772352051507422\u003c/p>\n\u003cp>In an interview with \u003cem>\u003ca href=\"https://www.hollywoodreporter.com/news/general-news/billie-joe-armstrong-too-short-oakland-ballers-1236155122/\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a>, \u003c/em>Armstrong said that “after the A’s left, the town was heartbroken. The Ballers are going to bring good vibes back to Oakland and the broader East Bay.”\u003c/p>\n\u003cp>Too Short echoed his sentiments, telling the publication, “If I can’t brag on a big-league franchise I can brag on being a Baller.”\u003c/p>\n\u003cp>[aside postID='news_11988883']The Ballers other co-founder, Carmel, said, “This isn’t a case of celebrities coming in to save the day. 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"content": "\u003cp>It’s a little after 7 p.m. on a cool January night in Oakland. At \u003ca href=\"https://wyldflowrarts.com/\">Wyldflowr Arts\u003c/a>, an inviting new arts space with cozy thrifted sofas, everyone in the 40-person audience has a signature look — a favorite respirator mask, that is. A white 3M Aura N95 with a decorative chain draped over the front. A neon orange KF94. A black Moldex Airwave N95 that resembles an armadillo.\u003c/p>\n\u003cp>On a table by the door, \u003ca href=\"https://www.instagram.com/mask4mask.bay.area/\">Mask 4 Mask Bay Area\u003c/a> displays free harm reduction supplies, including rapid antigen tests and more respirators, many equipped with airtight valves so concert-goers can consume bar drinks through a straw without unmasking. Around the room, four air purifiers quietly whirr.\u003c/p>\n\u003cp>The performers, some of whom unmask to sing or play wind instruments, have all taken a \u003ca href=\"https://covid19testingtoolkit.centerforhealthsecurity.org/basics/types-of-covid-19-tests/diagnostic-tests/molecular-tests\">molecular test for COVID-19\u003c/a>. That includes the opener, multigenre chanteuse \u003ca href=\"https://www.angeladedokun.com/\">Angel Adedokun\u003c/a>, and members of the headlining jazz fusion band \u003ca href=\"http://rebirthcanal.com/\">Rebirth Canal\u003c/a>, with Camille Mai on vocals and piano and her partner, \u003ca href=\"https://www.danielrieramusic.com/\">Daniel Riera\u003c/a>, on EWI (electronic wind instrument) and flute. Mai proudly notes she connected with drummer Shawn Myers and bassist Kevin Goldberg through the so-called COVID-cautious community, one of several terms for a loose, varied conglomerate of people who regularly mask and take other precautions against the spread of COVID and other airborne illnesses.\u003c/p>\n\u003cfigure id=\"attachment_13972640\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-scaled.jpg\" alt=\"A singer wearing a mask looks out onto the audience while her band sets up. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Camille Mai of Rebirth Canal makes an opening announcement. \u003ccite>(Jennifer Jupiter Benorden )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth Canal and Adedokun will return to Wyldflower Arts for \u003ca href=\"https://www.eventbrite.com/e/rebirth-canal-angel-adedokun-a-covid-conscious-concert-tickets-1266881319129\">another COVID-conscious concert on April 27\u003c/a>. Their sold-out January performance attracted a wide array of fans. One attendee traveled from Davis for the show, while a couple living a few blocks away was able to attend due to the venue’s proximity to their home, even though one of them is otherwise mostly housebound due to disabilities. Another Oakland couple, who introduced themselves as Cal and Grant, are both high school teachers who mask and run air purifiers in their classrooms. They studied jazz and miss shows where they aren’t the only masked attendees.\u003c/p>\n\u003cp>“If I make a connection here and we want to try to be friends, I know we’re working from the same reality,” Cal explains while Grant sips his bottled Modelo through a straw, using the valve installed in his mask.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Camille Mai has long been \u003ca href=\"https://www.berkeleyside.org/2019/10/31/camille-mays-band-rebirth-canal-plays-the-back-room\">open about her chronic pain\u003c/a>. She also endured two difficult COVID infections that each left her in recovery for about three months. Mai’s soulful performances include subtle adaptations for her disabilities, such as beautiful piano solos between singing so she can catch her breath.\u003c/p>\n\u003cp>“I resigned myself to only playing outdoor shows until they invent PrEP for COVID,” she says, referencing the HIV-prevention drug.\u003c/p>\n\u003cfigure id=\"attachment_13972641\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-scaled.jpg\" alt=\"An audience at a small concert wears N95 masks. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Masks-required shows have an enthusiastic following of health-conscious music fans, some of whom are immunocompromised. \u003ccite>(Jennifer Jupiter Benorden )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although COVID transmission \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/coronavirus/in-depth/safe-activities-during-covid19/art-20489385\">occurs outdoors\u003c/a>, better airflow and wind can lower the risk. But outdoor venues aren’t always an option, so at indoor shows it’s up to the audience to protect performers by masking. “For a while, I didn’t have any community on the same page with me,” Mai adds.\u003c/p>\n\u003cp>Slowly, though, like-minded musicians are finding one another. Noticing that Adedokun popped on a mask every time she rehearsed with Mai’s partner Riera, Mai asked her to join the bill for this latest show. Adedokun, whose soul-driven set featured Prince covers and original songs, says testing and masking is basic consideration of others’ safety. “Even if you may not care about COVID and how it affects your body, many people still do,” she explains. [aside postid='arts_13971906']\u003c/p>\n\u003cp>Mai started more actively seeking out other COVID-informed musicians after a \u003ca href=\"https://www.instagram.com/p/DBeOVOzPoY_/\">sold-out 2024 Halloween show\u003c/a> with \u003ca href=\"https://www.jiintodaybreak.com/\">Jiinto Daybreak\u003c/a>, an indie band that formed in early 2020, shortly before stay-at-home orders went into effect in San Francisco. Nao Luka, Jiinto Daybreak’s frontwoman, wasn’t sure if or how her band would ever perform publicly. She says it’s difficult as it is to be an independent musician, without these additional safety considerations. But after years of managing her own health conditions, she realized protecting her health is crucial for the longevity of her career.\u003c/p>\n\u003cp>“It’s really sad to hear about so many performers no longer being able to perform because of long COVID or other health issues that they developed after having COVID, as well as canceled shows and tours,” Luka explains. “I think most non-COVID-cautious musicians think about COVID precautions only being for the sake of disabled and immunocompromised folks, and don’t realize that these are real issues that the musicians themselves can be impacted by and are all at risk for.” [aside postid='arts_13961701']\u003c/p>\n\u003cp>While small collectives like the \u003ca href=\"https://www.kqed.org/arts/13961701/diy-museum-queer-collective-oakland-accessibilitiy\">DIY Museum\u003c/a> and large institutions like the Berkeley Repertory Theatre offer mask-required events, musicians have little to no institutional support. In the past year, local COVID-aware acts have assembled their own lineups for outdoor venues like \u003ca href=\"https://www.thenewfarmsf.org/\">The New Farm\u003c/a> and organized backyard and house shows that typically sold out within days. Last summer, on a short nationwide tour, singer-songwriter \u003ca href=\"https://zeoboekbinder.com/\">Zoe Boekbinder\u003c/a> booked COVID-safer venues and required masks. They played three nights at Bay Area venues, including an East Oakland private yard and in an alley behind a San Mateo music school run by a vocal coach who requires masks.\u003c/p>\n\u003cfigure id=\"attachment_13972642\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972642\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-scaled.jpg\" alt=\"A close-up of a table with zines, COVID tests and other supplies.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mask 4 Mask offered free COVID tests, informational zines, masks and other supplies at Rebirth Canal’s January show at Wyldflower Arts. \u003ccite>(Britta Shoot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boekbinder’s success was built in part on another masks-required tour by Seattle math rock band \u003ca href=\"https://glassbeach.band/\">Glass Beach\u003c/a>. When Glass Beach performed at San Francisco’s The Independent in April 2024, the band’s mask request was supported by a local mask bloc, \u003ca href=\"https://thesicktimes.org/2024/03/12/how-mask-blocs-are-keeping-communities-safe-with-neglected-government-stockpiles/\">a type of mutual aid group\u003c/a> that distributes free high-filtration masks. (Full disclosure: the reporter is part of \u003ca href=\"https://www.instagram.com/maskblocsunsetsf/#\">local groups that distributes free masks\u003c/a>, which supported the Glass Beach concert.)\u003c/p>\n\u003cp>Observing the unwavering demand for safer shows, Mai is pondering a bigger series, potentially featuring performers who might not take everyday precautions against airborne viruses but would be willing to take a molecular test to perform maskless for a wider audience. “There are world-class musicians whose shows aren’t accessible to us,” she says. “I’d love to bring them to this community.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Rebirth Canal and Angel Adedokun return to Wyldflower Arts in Oakland for a COVID-cautious concert on April 27. \u003ca href=\"https://www.eventbrite.com/e/rebirth-canal-angel-adedokun-a-covid-conscious-concert-tickets-1266881319129\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a little after 7 p.m. on a cool January night in Oakland. At \u003ca href=\"https://wyldflowrarts.com/\">Wyldflowr Arts\u003c/a>, an inviting new arts space with cozy thrifted sofas, everyone in the 40-person audience has a signature look — a favorite respirator mask, that is. A white 3M Aura N95 with a decorative chain draped over the front. A neon orange KF94. A black Moldex Airwave N95 that resembles an armadillo.\u003c/p>\n\u003cp>On a table by the door, \u003ca href=\"https://www.instagram.com/mask4mask.bay.area/\">Mask 4 Mask Bay Area\u003c/a> displays free harm reduction supplies, including rapid antigen tests and more respirators, many equipped with airtight valves so concert-goers can consume bar drinks through a straw without unmasking. Around the room, four air purifiers quietly whirr.\u003c/p>\n\u003cp>The performers, some of whom unmask to sing or play wind instruments, have all taken a \u003ca href=\"https://covid19testingtoolkit.centerforhealthsecurity.org/basics/types-of-covid-19-tests/diagnostic-tests/molecular-tests\">molecular test for COVID-19\u003c/a>. That includes the opener, multigenre chanteuse \u003ca href=\"https://www.angeladedokun.com/\">Angel Adedokun\u003c/a>, and members of the headlining jazz fusion band \u003ca href=\"http://rebirthcanal.com/\">Rebirth Canal\u003c/a>, with Camille Mai on vocals and piano and her partner, \u003ca href=\"https://www.danielrieramusic.com/\">Daniel Riera\u003c/a>, on EWI (electronic wind instrument) and flute. Mai proudly notes she connected with drummer Shawn Myers and bassist Kevin Goldberg through the so-called COVID-cautious community, one of several terms for a loose, varied conglomerate of people who regularly mask and take other precautions against the spread of COVID and other airborne illnesses.\u003c/p>\n\u003cfigure id=\"attachment_13972640\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972640\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-scaled.jpg\" alt=\"A singer wearing a mask looks out onto the audience while her band sets up. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Camille-Mai-of-Rebirth-Canal-making-opening-announcements-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Camille Mai of Rebirth Canal makes an opening announcement. \u003ccite>(Jennifer Jupiter Benorden )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth Canal and Adedokun will return to Wyldflower Arts for \u003ca href=\"https://www.eventbrite.com/e/rebirth-canal-angel-adedokun-a-covid-conscious-concert-tickets-1266881319129\">another COVID-conscious concert on April 27\u003c/a>. Their sold-out January performance attracted a wide array of fans. One attendee traveled from Davis for the show, while a couple living a few blocks away was able to attend due to the venue’s proximity to their home, even though one of them is otherwise mostly housebound due to disabilities. Another Oakland couple, who introduced themselves as Cal and Grant, are both high school teachers who mask and run air purifiers in their classrooms. They studied jazz and miss shows where they aren’t the only masked attendees.\u003c/p>\n\u003cp>“If I make a connection here and we want to try to be friends, I know we’re working from the same reality,” Cal explains while Grant sips his bottled Modelo through a straw, using the valve installed in his mask.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Camille Mai has long been \u003ca href=\"https://www.berkeleyside.org/2019/10/31/camille-mays-band-rebirth-canal-plays-the-back-room\">open about her chronic pain\u003c/a>. She also endured two difficult COVID infections that each left her in recovery for about three months. Mai’s soulful performances include subtle adaptations for her disabilities, such as beautiful piano solos between singing so she can catch her breath.\u003c/p>\n\u003cp>“I resigned myself to only playing outdoor shows until they invent PrEP for COVID,” she says, referencing the HIV-prevention drug.\u003c/p>\n\u003cfigure id=\"attachment_13972641\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972641\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-scaled.jpg\" alt=\"An audience at a small concert wears N95 masks. \" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Audience-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Masks-required shows have an enthusiastic following of health-conscious music fans, some of whom are immunocompromised. \u003ccite>(Jennifer Jupiter Benorden )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although COVID transmission \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/coronavirus/in-depth/safe-activities-during-covid19/art-20489385\">occurs outdoors\u003c/a>, better airflow and wind can lower the risk. But outdoor venues aren’t always an option, so at indoor shows it’s up to the audience to protect performers by masking. “For a while, I didn’t have any community on the same page with me,” Mai adds.\u003c/p>\n\u003cp>Slowly, though, like-minded musicians are finding one another. Noticing that Adedokun popped on a mask every time she rehearsed with Mai’s partner Riera, Mai asked her to join the bill for this latest show. Adedokun, whose soul-driven set featured Prince covers and original songs, says testing and masking is basic consideration of others’ safety. “Even if you may not care about COVID and how it affects your body, many people still do,” she explains. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mai started more actively seeking out other COVID-informed musicians after a \u003ca href=\"https://www.instagram.com/p/DBeOVOzPoY_/\">sold-out 2024 Halloween show\u003c/a> with \u003ca href=\"https://www.jiintodaybreak.com/\">Jiinto Daybreak\u003c/a>, an indie band that formed in early 2020, shortly before stay-at-home orders went into effect in San Francisco. Nao Luka, Jiinto Daybreak’s frontwoman, wasn’t sure if or how her band would ever perform publicly. She says it’s difficult as it is to be an independent musician, without these additional safety considerations. But after years of managing her own health conditions, she realized protecting her health is crucial for the longevity of her career.\u003c/p>\n\u003cp>“It’s really sad to hear about so many performers no longer being able to perform because of long COVID or other health issues that they developed after having COVID, as well as canceled shows and tours,” Luka explains. “I think most non-COVID-cautious musicians think about COVID precautions only being for the sake of disabled and immunocompromised folks, and don’t realize that these are real issues that the musicians themselves can be impacted by and are all at risk for.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While small collectives like the \u003ca href=\"https://www.kqed.org/arts/13961701/diy-museum-queer-collective-oakland-accessibilitiy\">DIY Museum\u003c/a> and large institutions like the Berkeley Repertory Theatre offer mask-required events, musicians have little to no institutional support. In the past year, local COVID-aware acts have assembled their own lineups for outdoor venues like \u003ca href=\"https://www.thenewfarmsf.org/\">The New Farm\u003c/a> and organized backyard and house shows that typically sold out within days. Last summer, on a short nationwide tour, singer-songwriter \u003ca href=\"https://zeoboekbinder.com/\">Zoe Boekbinder\u003c/a> booked COVID-safer venues and required masks. They played three nights at Bay Area venues, including an East Oakland private yard and in an alley behind a San Mateo music school run by a vocal coach who requires masks.\u003c/p>\n\u003cfigure id=\"attachment_13972642\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972642\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-scaled.jpg\" alt=\"A close-up of a table with zines, COVID tests and other supplies.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/03/Mask4Mask-Bay-Area-free-supplies-at-Rebirth-Canal-show-Jan-2025-credit-Shoot-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Mask 4 Mask offered free COVID tests, informational zines, masks and other supplies at Rebirth Canal’s January show at Wyldflower Arts. \u003ccite>(Britta Shoot)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Boekbinder’s success was built in part on another masks-required tour by Seattle math rock band \u003ca href=\"https://glassbeach.band/\">Glass Beach\u003c/a>. When Glass Beach performed at San Francisco’s The Independent in April 2024, the band’s mask request was supported by a local mask bloc, \u003ca href=\"https://thesicktimes.org/2024/03/12/how-mask-blocs-are-keeping-communities-safe-with-neglected-government-stockpiles/\">a type of mutual aid group\u003c/a> that distributes free high-filtration masks. (Full disclosure: the reporter is part of \u003ca href=\"https://www.instagram.com/maskblocsunsetsf/#\">local groups that distributes free masks\u003c/a>, which supported the Glass Beach concert.)\u003c/p>\n\u003cp>Observing the unwavering demand for safer shows, Mai is pondering a bigger series, potentially featuring performers who might not take everyday precautions against airborne viruses but would be willing to take a molecular test to perform maskless for a wider audience. “There are world-class musicians whose shows aren’t accessible to us,” she says. “I’d love to bring them to this community.”\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>Rebirth Canal and Angel Adedokun return to Wyldflower Arts in Oakland for a COVID-cautious concert on April 27. \u003ca href=\"https://www.eventbrite.com/e/rebirth-canal-angel-adedokun-a-covid-conscious-concert-tickets-1266881319129\">Details and tickets here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival at the Lake\u003c/a>, held annually in Oakland from 1982–1997, holds \u003ca href=\"https://localwiki.org/oakland/Festival_at_the_Lake\">warm memories for many longtime Oakland residents\u003c/a>. Unfortunately, not much footage from the festival exists. \u003c/p>\n\u003cp>So it was like digging up gold to find, on the website of the archival organization \u003ca href=\"https://californiarevealed.org/\">California Revealed\u003c/a>, a page titled “\u003cspan class=\"field field--name-title field--type-string field--label-hidden\">\u003ca href=\"https://californiarevealed.org/do/c8920fb4-893f-45df-b6bb-677984a98d5b\" target=\"_blank\" rel=\"noopener\">Festival at the Lake: Tapes 1-8\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>The VHS footage, contributed by the \u003ca href=\"https://oaklandlibrary.org/ohc/\">Oakland History Center\u003c/a> at the Oakland Public Library, shows hosts, performers, vendors and event attendees. It contains performances by clown-faced kids from Prescott Elementary School and adult dancers and drummers performing world music.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/copl_000136\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://californiarevealed.org/do/c8920fb4-893f-45df-b6bb-677984a98d5b\">All eight tapes of Festival at the Lake can be viewed here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s also some familiar faces. About 18 minutes into the first video, the president of the board of the Festival at the Lake, Wes Coolidge, is introduced by Barbara Schaaf, mother of former Oakland Mayor Libby Schaaf.\u003c/p>\n\u003cp>“Ladies and gentlemen,” Coolidge says, addressing the crowd, “you may not believe this, but the Festival at the Lake is the largest urban fair in California. And one of the largest fairs of its kind in the United States of America.”\u003c/p>\n\u003cp>And while the unknown camera operator has a bit of a wandering eye, with choppy footage and sometimes audio-free filming, the approach uniquely captures the era in ways that other footage of Festival at the Lake — by \u003ca href=\"https://archive.org/details/copl_000149\">TV news cameras\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=7p2EwQL4wyY\">music video directors\u003c/a> — simply doesn’t.\u003c/p>\n\u003cp>[aside postID='news_11690787']The fashion and glasses, hairstyles and headwear. The old logos of event sponsors like the Lucky grocery store and 7-UP. Nostalgia sinks in at the sight of the mock fire helmets that the Oakland Fire Department often passed out to kids.\u003c/p>\n\u003cp>Also seen is the architecture around Lake Merritt. Adjacent to Fairyland, near Lake Merritt’s bandstand, glimpses of downtown Oakland’s old skyline appear, before the construction of new office buildings and high-rise apartments.\u003c/p>\n\u003cp>This “wandering eye” creates an un-curated archive vastly different than the videos that proliferate social media after major events nowadays. Access to technology and our appetite for storytelling mean that footage is almost always filtered or edited to fit into shareable clips. \u003c/p>\n\u003cfigure id=\"attachment_13972404\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n.jpg\" alt='A boy in a suit poses for a photo while holding a flag that reads, \"Black Joy Parade.\"' width=\"1320\" height=\"1650\" class=\"size-full wp-image-13972404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Amari Rashad, a young Oakland-based author and artist, stops for a photo at the 2025 Black Joy Parade in downtown Oakland. \u003ccite>(\u003ca href=\"https://www.instagram.com/amirthephotographer/\">Amir Abdul-Shakur\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last weekend’s \u003ca href=\"https://www.instagram.com/blackjoyparade/\" target=\"_blank\" rel=\"noopener\">Black Joy Parade\u003c/a> in Oakland is a prime example.\u003c/p>\n\u003cp>In the midst of musicians and dancers, fly fashionistas and cute kids, artistic attendees took to the streets and documented the gathering in regal manner. I double-tapped Instagram posts to show my appreciation of images from \u003ca href=\"https://www.instagram.com/amirthephotographer/\" target=\"_blank\" rel=\"noopener\">Amir Abdul-Shakur\u003c/a> and \u003ca href=\"https://www.instagram.com/p/DGi_eP5yksk/\" target=\"_blank\" rel=\"noopener\">Stephanie J. Alcazar\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/p/DGhMO-4RoOH/\" target=\"_blank\" rel=\"noopener\">Brandon Robinson\u003c/a>, \u003ca href=\"https://www.instagram.com/p/DGdnZIAP1kr/\" target=\"_blank\" rel=\"noopener\">Kvn Alln\u003c/a> and \u003ca href=\"https://www.instagram.com/p/DGjBlg1RSvs/?img_index=1\" target=\"_blank\" rel=\"noopener\">Sabrina Sellers\u003c/a>.\u003c/p>\n\u003cp>To take life as we see it and frame it in a way that succinctly tells the story is a magnificent talent. It takes patience, focus and imagination. It’s an art that’s taken for granted, because it happens so often.\u003c/p>\n\u003cp>At the same time, as shown in the tapes of Festival by the Lake, there’s some value to the uncle who shows up to the event, turns on the camera and lets the tape run. It’s an aimless approach that doesn’t play well in the social media era. It’s almost like, \u003cem>get to the point: why are you showing me all this?\u003c/em>\u003c/p>\n\u003cp>But when you realize how fast the world changes, you gain an appreciation for seeing “all of this.”\u003c/p>\n\u003cfigure id=\"attachment_13972436\" class=\"wp-caption aligncenter\" style=\"max-width: 1097px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533.jpg\" alt=\"A candid shot of people attending a parade and festival in downtown Oakland.\" width=\"1097\" height=\"1645\" class=\"size-full wp-image-13972436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1097px) 100vw, 1097px\">\u003cfigcaption class=\"wp-caption-text\">The kiss, the smile, the smoke: Black Joy in one frame. \u003ccite>(\u003ca href=\"https://www.instagram.com/sabrinashireen/\">Sabrina Sellers\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The day after Black Joy Parade, as photographers and influencers paired songs with their image reels and added filters to their videos, the \u003ca href=\"https://www.eventbrite.com/e/6th-annual-lakefest-oakland-tickets-1252510144559?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">6th Annual LakeFest\u003c/a> was announced, set for June 21, 2025 — Juneteenth weekend. As one of the many annual events held on the shores of Oakland’s crown jewel, Lakefest is directly inspired by the legacy of Festival at the Lake.\u003c/p>\n\u003cp>I imagine, 40 years from now, we’ll all be pulling up old social media posts of LakeFest to be transported back to what things were like in 2025.\u003c/p>\n\u003cp>And while the curated images should live in museums, or at least be preserved in readily available internet archives, I also hope there’s surviving footage from someone’s uncle who simply turned their camera on and did a 360-degree turn to capture the world around him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Archival tapes of Festival at the Lake can be viewed \u003ca href=\"http://All%20eight%20tapes%20of%20Festival%20at%20the%20Lake%20can%20be%20viewed\">here\u003c/a>. LakeFest Oakland takes place Saturday, June 21, on the north shore of Lake Merritt in Oakland; \u003ca href=\"https://www.eventbrite.com/e/6th-annual-lakefest-oakland-tickets-1252510144559?aff=oddtdtcreator\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/news/11690787/when-oakland-was-a-chocolate-city-a-brief-history-of-festival-at-the-lake\">Festival at the Lake\u003c/a>, held annually in Oakland from 1982–1997, holds \u003ca href=\"https://localwiki.org/oakland/Festival_at_the_Lake\">warm memories for many longtime Oakland residents\u003c/a>. Unfortunately, not much footage from the festival exists. \u003c/p>\n\u003cp>So it was like digging up gold to find, on the website of the archival organization \u003ca href=\"https://californiarevealed.org/\">California Revealed\u003c/a>, a page titled “\u003cspan class=\"field field--name-title field--type-string field--label-hidden\">\u003ca href=\"https://californiarevealed.org/do/c8920fb4-893f-45df-b6bb-677984a98d5b\" target=\"_blank\" rel=\"noopener\">Festival at the Lake: Tapes 1-8\u003c/a>.”\u003c/span>\u003c/p>\n\u003cp>The VHS footage, contributed by the \u003ca href=\"https://oaklandlibrary.org/ohc/\">Oakland History Center\u003c/a> at the Oakland Public Library, shows hosts, performers, vendors and event attendees. It contains performances by clown-faced kids from Prescott Elementary School and adult dancers and drummers performing world music.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://archive.org/embed/copl_000136\" width=\"640\" height=\"480\" frameborder=\"0\" webkitallowfullscreen=\"true\" mozallowfullscreen=\"true\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://californiarevealed.org/do/c8920fb4-893f-45df-b6bb-677984a98d5b\">All eight tapes of Festival at the Lake can be viewed here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s also some familiar faces. About 18 minutes into the first video, the president of the board of the Festival at the Lake, Wes Coolidge, is introduced by Barbara Schaaf, mother of former Oakland Mayor Libby Schaaf.\u003c/p>\n\u003cp>“Ladies and gentlemen,” Coolidge says, addressing the crowd, “you may not believe this, but the Festival at the Lake is the largest urban fair in California. And one of the largest fairs of its kind in the United States of America.”\u003c/p>\n\u003cp>And while the unknown camera operator has a bit of a wandering eye, with choppy footage and sometimes audio-free filming, the approach uniquely captures the era in ways that other footage of Festival at the Lake — by \u003ca href=\"https://archive.org/details/copl_000149\">TV news cameras\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=7p2EwQL4wyY\">music video directors\u003c/a> — simply doesn’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The fashion and glasses, hairstyles and headwear. The old logos of event sponsors like the Lucky grocery store and 7-UP. Nostalgia sinks in at the sight of the mock fire helmets that the Oakland Fire Department often passed out to kids.\u003c/p>\n\u003cp>Also seen is the architecture around Lake Merritt. Adjacent to Fairyland, near Lake Merritt’s bandstand, glimpses of downtown Oakland’s old skyline appear, before the construction of new office buildings and high-rise apartments.\u003c/p>\n\u003cp>This “wandering eye” creates an un-curated archive vastly different than the videos that proliferate social media after major events nowadays. Access to technology and our appetite for storytelling mean that footage is almost always filtered or edited to fit into shareable clips. \u003c/p>\n\u003cfigure id=\"attachment_13972404\" class=\"wp-caption aligncenter\" style=\"max-width: 1320px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n.jpg\" alt='A boy in a suit poses for a photo while holding a flag that reads, \"Black Joy Parade.\"' width=\"1320\" height=\"1650\" class=\"size-full wp-image-13972404\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n.jpg 1320w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/480939408_1029903862316247_8023862359179876969_n-1229x1536.jpg 1229w\" sizes=\"auto, (max-width: 1320px) 100vw, 1320px\">\u003cfigcaption class=\"wp-caption-text\">Amari Rashad, a young Oakland-based author and artist, stops for a photo at the 2025 Black Joy Parade in downtown Oakland. \u003ccite>(\u003ca href=\"https://www.instagram.com/amirthephotographer/\">Amir Abdul-Shakur\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last weekend’s \u003ca href=\"https://www.instagram.com/blackjoyparade/\" target=\"_blank\" rel=\"noopener\">Black Joy Parade\u003c/a> in Oakland is a prime example.\u003c/p>\n\u003cp>In the midst of musicians and dancers, fly fashionistas and cute kids, artistic attendees took to the streets and documented the gathering in regal manner. I double-tapped Instagram posts to show my appreciation of images from \u003ca href=\"https://www.instagram.com/amirthephotographer/\" target=\"_blank\" rel=\"noopener\">Amir Abdul-Shakur\u003c/a> and \u003ca href=\"https://www.instagram.com/p/DGi_eP5yksk/\" target=\"_blank\" rel=\"noopener\">Stephanie J. Alcazar\u003c/a>, as well as \u003ca href=\"https://www.instagram.com/p/DGhMO-4RoOH/\" target=\"_blank\" rel=\"noopener\">Brandon Robinson\u003c/a>, \u003ca href=\"https://www.instagram.com/p/DGdnZIAP1kr/\" target=\"_blank\" rel=\"noopener\">Kvn Alln\u003c/a> and \u003ca href=\"https://www.instagram.com/p/DGjBlg1RSvs/?img_index=1\" target=\"_blank\" rel=\"noopener\">Sabrina Sellers\u003c/a>.\u003c/p>\n\u003cp>To take life as we see it and frame it in a way that succinctly tells the story is a magnificent talent. It takes patience, focus and imagination. It’s an art that’s taken for granted, because it happens so often.\u003c/p>\n\u003cp>At the same time, as shown in the tapes of Festival by the Lake, there’s some value to the uncle who shows up to the event, turns on the camera and lets the tape run. It’s an aimless approach that doesn’t play well in the social media era. It’s almost like, \u003cem>get to the point: why are you showing me all this?\u003c/em>\u003c/p>\n\u003cp>But when you realize how fast the world changes, you gain an appreciation for seeing “all of this.”\u003c/p>\n\u003cfigure id=\"attachment_13972436\" class=\"wp-caption aligncenter\" style=\"max-width: 1097px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533.jpg\" alt=\"A candid shot of people attending a parade and festival in downtown Oakland.\" width=\"1097\" height=\"1645\" class=\"size-full wp-image-13972436\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533.jpg 1097w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/BJP-SSellers-02533-1024x1536.jpg 1024w\" sizes=\"auto, (max-width: 1097px) 100vw, 1097px\">\u003cfigcaption class=\"wp-caption-text\">The kiss, the smile, the smoke: Black Joy in one frame. \u003ccite>(\u003ca href=\"https://www.instagram.com/sabrinashireen/\">Sabrina Sellers\u003c/a>)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The day after Black Joy Parade, as photographers and influencers paired songs with their image reels and added filters to their videos, the \u003ca href=\"https://www.eventbrite.com/e/6th-annual-lakefest-oakland-tickets-1252510144559?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">6th Annual LakeFest\u003c/a> was announced, set for June 21, 2025 — Juneteenth weekend. As one of the many annual events held on the shores of Oakland’s crown jewel, Lakefest is directly inspired by the legacy of Festival at the Lake.\u003c/p>\n\u003cp>I imagine, 40 years from now, we’ll all be pulling up old social media posts of LakeFest to be transported back to what things were like in 2025.\u003c/p>\n\u003cp>And while the curated images should live in museums, or at least be preserved in readily available internet archives, I also hope there’s surviving footage from someone’s uncle who simply turned their camera on and did a 360-degree turn to capture the world around him.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Archival tapes of Festival at the Lake can be viewed \u003ca href=\"http://All%20eight%20tapes%20of%20Festival%20at%20the%20Lake%20can%20be%20viewed\">here\u003c/a>. LakeFest Oakland takes place Saturday, June 21, on the north shore of Lake Merritt in Oakland; \u003ca href=\"https://www.eventbrite.com/e/6th-annual-lakefest-oakland-tickets-1252510144559?aff=oddtdtcreator\">details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "One of the Last Remaining All-Women’s Orchestras Celebrates 40 Years in Oakland",
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"content": "\u003cp>Sue Leonardi’s trumpet lay dormant in its case for 14 years until one day in 1997, when one of her neighbors came by to welcome her to her new neighborhood in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>. He had heard she was a trumpet player and wanted her to join his band. To her own surprise, she said yes.\u003c/p>\n\u003cp>The neighbor’s gig turned out to be a mariachi band, a style of music Leonardi had never played before. But it got her to pick up her horn again and helped erase her regret of having ever set it down in the first place. Leonardi moved on from mariachi to playing with the San Francisco Pride Band, where, at a rehearsal in 2000, a colleague told her there was a women’s orchestra in dire need of a trumpet player. She went to one of their rehearsals, and the rest was history: Twenty-five years later, Leonardi is still playing with that all-women’s group — the \u003ca href=\"https://www.communitywomensorchestra.org/\">Community Women’s Orchestra\u003c/a> in Oakland.\u003c/p>\n\u003cp>“I feel like a women’s orchestra is such an underdog,” said Leonardi. “And I’m a really big fan of underdogs.”\u003c/p>\n\u003cp>The orchestra, founded in 1985, was originally created to be a supplementary group to the professional, San Francisco-based Women’s Philharmonic. The two coexisted until 2004, when the Philharmonic shuttered, but the Community Women’s Orchestra carried on. Now, the CWO is one of just a handful of all-women’s orchestras left in the country. “There’s only three that I’m aware of,” says the orchestra’s conductor, Samantha Burgess.\u003c/p>\n\u003cp>This year, the CWO is celebrating its 40th anniversary and gearing up for two concerts to commemorate the season. The first of the two is happening Sunday, March 2, ahead of International Women’s Day, and will feature women composers like Louise Farrenc.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What I love about Louise Farrenc is that she was one of the first female professors at the Paris Conservatory of Music,” Burgess says, noting that Farrenc managed to use her success as a composer to demand and win equal pay to her male colleagues in the 1800s. “It’s such a great story,” Burgess says. “I thought it fit really well with the program.”\u003c/p>\n\u003cp>Sunday’s concert will be in-person, but for a few years, like so many other organizations, the orchestra had to choose between pausing or moving online when COVID-19 hit. The orchestra opted to go virtual. Leonardi says it’s miraculous that the orchestra made it through the pandemic, especially as an amateur orchestra, considering how badly the live music scene was hit at the time. In the early pandemic years, the CWO was still able to put on three online concerts. Leonardi explains that with the help of a click track (a digital audio track that acts as a metronome), every musician individually recorded their own part, then sent it in to oboe and English horn player Wendy Shiraki, who compiled all of the recordings and turned them into one unified orchestral piece.\u003c/p>\n\u003cp>“It wasn’t easy,” says Leonardi. “But it kept us together.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13970454,arts_13969242,arts_13967421']\u003c/span>\u003c/span>Throughout its 40 years of existence, the Community Women’s Orchestra has been a home and community for countless musicians and conductors. Leonardi says it’s wonderful to see women of all ages, from their 20s into their 70s, come and go over the years — and to see them gain experience not just with playing instruments, but with composing and conducting too. CWO’s composer-in-residence June Bonacich, for example, once had the orchestra perform a piece she created called “The Visit with Grandpa” in which the tuba part was “grandpa,” and two flutes and a piccolo took on the role of the grandkids.\u003c/p>\n\u003cp>Burgess feels similarly to Leonardi. “It’s hard to find opportunities as a young female conductor that really allow you to develop and have an outlet for your artistic voice,” she says. “So I feel very lucky to have this group that I can do that with.”\u003c/p>\n\u003cp>When asked what sets the CWO apart in being able to keep its doors open after so many years, Leonardi says she wishes she knew. Maybe it’s because the orchestra isn’t professional level, because it’s based in Oakland, because it doesn’t require auditions. Maybe it’s just that there are so many women interested in celebrating and uplifting other women in music.\u003c/p>\n\u003cp>“I really don’t know what the key is,” she says. “I just think it’s miraculous that we’re still here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Community Women’s Orchestra concert “La Femme Francaise” will be on Sunday, March 2 at 4 p.m. at the First Presbyterian Church of Oakland (2619 Broadway). Get tickets \u003c/i>\u003ca href=\"https://www.communitywomensorchestra.org/concert-tickets\">\u003ci>here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sue Leonardi’s trumpet lay dormant in its case for 14 years until one day in 1997, when one of her neighbors came by to welcome her to her new neighborhood in \u003ca href=\"https://www.kqed.org/arts/tag/oakland\">Oakland\u003c/a>. He had heard she was a trumpet player and wanted her to join his band. To her own surprise, she said yes.\u003c/p>\n\u003cp>The neighbor’s gig turned out to be a mariachi band, a style of music Leonardi had never played before. But it got her to pick up her horn again and helped erase her regret of having ever set it down in the first place. Leonardi moved on from mariachi to playing with the San Francisco Pride Band, where, at a rehearsal in 2000, a colleague told her there was a women’s orchestra in dire need of a trumpet player. She went to one of their rehearsals, and the rest was history: Twenty-five years later, Leonardi is still playing with that all-women’s group — the \u003ca href=\"https://www.communitywomensorchestra.org/\">Community Women’s Orchestra\u003c/a> in Oakland.\u003c/p>\n\u003cp>“I feel like a women’s orchestra is such an underdog,” said Leonardi. “And I’m a really big fan of underdogs.”\u003c/p>\n\u003cp>The orchestra, founded in 1985, was originally created to be a supplementary group to the professional, San Francisco-based Women’s Philharmonic. The two coexisted until 2004, when the Philharmonic shuttered, but the Community Women’s Orchestra carried on. Now, the CWO is one of just a handful of all-women’s orchestras left in the country. “There’s only three that I’m aware of,” says the orchestra’s conductor, Samantha Burgess.\u003c/p>\n\u003cp>This year, the CWO is celebrating its 40th anniversary and gearing up for two concerts to commemorate the season. The first of the two is happening Sunday, March 2, ahead of International Women’s Day, and will feature women composers like Louise Farrenc.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What I love about Louise Farrenc is that she was one of the first female professors at the Paris Conservatory of Music,” Burgess says, noting that Farrenc managed to use her success as a composer to demand and win equal pay to her male colleagues in the 1800s. “It’s such a great story,” Burgess says. “I thought it fit really well with the program.”\u003c/p>\n\u003cp>Sunday’s concert will be in-person, but for a few years, like so many other organizations, the orchestra had to choose between pausing or moving online when COVID-19 hit. The orchestra opted to go virtual. Leonardi says it’s miraculous that the orchestra made it through the pandemic, especially as an amateur orchestra, considering how badly the live music scene was hit at the time. In the early pandemic years, the CWO was still able to put on three online concerts. Leonardi explains that with the help of a click track (a digital audio track that acts as a metronome), every musician individually recorded their own part, then sent it in to oboe and English horn player Wendy Shiraki, who compiled all of the recordings and turned them into one unified orchestral piece.\u003c/p>\n\u003cp>“It wasn’t easy,” says Leonardi. “But it kept us together.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>Throughout its 40 years of existence, the Community Women’s Orchestra has been a home and community for countless musicians and conductors. Leonardi says it’s wonderful to see women of all ages, from their 20s into their 70s, come and go over the years — and to see them gain experience not just with playing instruments, but with composing and conducting too. CWO’s composer-in-residence June Bonacich, for example, once had the orchestra perform a piece she created called “The Visit with Grandpa” in which the tuba part was “grandpa,” and two flutes and a piccolo took on the role of the grandkids.\u003c/p>\n\u003cp>Burgess feels similarly to Leonardi. “It’s hard to find opportunities as a young female conductor that really allow you to develop and have an outlet for your artistic voice,” she says. “So I feel very lucky to have this group that I can do that with.”\u003c/p>\n\u003cp>When asked what sets the CWO apart in being able to keep its doors open after so many years, Leonardi says she wishes she knew. Maybe it’s because the orchestra isn’t professional level, because it’s based in Oakland, because it doesn’t require auditions. Maybe it’s just that there are so many women interested in celebrating and uplifting other women in music.\u003c/p>\n\u003cp>“I really don’t know what the key is,” she says. “I just think it’s miraculous that we’re still here.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>The Community Women’s Orchestra concert “La Femme Francaise” will be on Sunday, March 2 at 4 p.m. at the First Presbyterian Church of Oakland (2619 Broadway). Get tickets \u003c/i>\u003ca href=\"https://www.communitywomensorchestra.org/concert-tickets\">\u003ci>here\u003c/i>\u003c/a>\u003ci>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What does the future hold for West Oakland?\u003c/p>\n\u003cp>As three-dimensional models and digital renderings get created, decisions are being made right now that will dictate the future of the land.\u003c/p>\n\u003cp>There’s a long list of moving pieces, starting with the proposed redevelopment of the West Oakland BART station, which would bring hundreds of new residents and a shopping center in a giant 5.5-acre project called \u003ca href=\"https://mandelastation.com/\" target=\"_blank\" rel=\"noopener\">Mandela Station\u003c/a>.\u003c/p>\n\u003cp>There’s \u003ca href=\"https://dot.ca.gov/caltrans-near-me/district-4/d4-projects/vision-980\" target=\"_blank\" rel=\"noopener\">Vision 980\u003c/a>, a study and subsequent proposal to remove all or some of the 980 Freeway; in doing so, CalTrans and Oakland could potentially undo\u003ca href=\"https://oaklandside.org/2024/04/10/remove-oakland-freeway-i-980-racial-injustice-gentrification-community/\" target=\"_blank\" rel=\"noopener\"> the harm it caused when it was constructed\u003c/a>, which left the redlined African American neighborhood of West Oakland separated from downtown. There’s discussions about the future of the \u003ca href=\"https://www.kqed.org/news/11910890/how-oaklands-16th-street-train-station-helped-build-west-oakland-and-the-modern-civil-rights-movement\" target=\"_blank\" rel=\"noopener\">16th Street Station\u003c/a>, \u003ca href=\"https://www.kqed.org/news/12024819/historic-landmark-status-boosts-push-restore-iconic-west-oakland-train-station\" target=\"_blank\" rel=\"noopener\">recently added to the National Register of Historic Places\u003c/a>, which welcomed scores of African Americans arriving from southern states during the Great Migration.\u003c/p>\n\u003cp>An initiative called “\u003ca href=\"https://www.7thstreetoakland.com/\" target=\"_blank\" rel=\"noopener\">7th Street Thrives\u003c/a>” aims to return vibrancy to an area of West Oakland that was once a thriving Black business district. And there are lingering whispers about the future of \u003ca href=\"https://oaklandside.org/2024/09/10/port-oakland-howard-terminal-development/\" target=\"_blank\" rel=\"noopener\">Howard Terminal\u003c/a> which, though closer to Jack London Square, will undoubtedly impact West Oakland.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As all these pieces move, there are people pushing to ensure that the future of the land honors those who’ve contributed to it in the past.\u003c/p>\n\u003cfigure id=\"attachment_13972354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01%E2%80%AFAM-800x1068.png\" alt=\"Three men, two in suits and the third in a collared shirt, pose for a photo. \" width=\"800\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-1020x1361.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-1151x1536.png 1151w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM.png 1220w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III, Art Shanks II and legendary singer Lenny Williams. \u003ccite>(Courtesy of Art Shanks II)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rising from disaster\u003c/h2>\n\u003cp>Just after a portion of the Cypress Freeway structure collapsed during the massive \u003ca href=\"https://www.conservation.ca.gov/cgs/earthquakes/loma-prieta\" target=\"_blank\" rel=\"noopener\">Loma Prieta Earthquake\u003c/a> in 1989, Art Shanks II and the other men in his family sprung to action. Shanks II, his brothers and father, all with backgrounds in construction, were in some ways ready for the unthinkable.\u003c/p>\n\u003cp>Shanks’ son, Art Shanks III, remembers his family members leaving the house, ladders in tow, and returning with stories about pulling people out of the carnage.\u003c/p>\n\u003cp>After that horrible day, Shanks II became more deeply involved with the community in the surrounding area, as well as the stretch of road that remained after the rubble was cleared. One of the westernmost main thoroughfares in Oakland, the street was desolate and dark. In the following years, it would be refurbished with a walkable tree-lined median and bike lane, and renamed in honor of the first president of South Africa, Nelson Mandela.\u003c/p>\n\u003cp>At the same time, realizing that a new generation of workers would be needed to rebuild Oakland’s infrastructure, Shanks II founded an apprenticeship program to usher in the next wave of blue collar workers; he called it the \u003ca href=\"https://www.cypressmandela.org/\" target=\"_blank\" rel=\"noopener\">Cypress Mandela Training Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13972055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972055\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-800x1067.jpg\" alt=\"A man in an Oakland A's jersey and black baseball hat stand in front of a two-story sculpture of art made to look like mangled ladders. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III standing in front of ‘15 Seconds,’ a structure on 14th Street and Mandela Parkway in West Oakland memorializing those who lost their lives during the 1989 Loma Prieta Earthquake. The three ladders symbolize the rescue efforts of local residents, who placed ladders on the collapsed freeway to reach those trapped by the damage. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Accolades for community commitment\u003c/h2>\n\u003cp>Last summer, the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=6728630&GUID=E8E5E5B1-02BD-4D24-B6F6-46330AE89CA1\" target=\"_blank\" rel=\"noopener\">Oakland City Council unanimously voted to mount commemorative placards on Mandela Parkway between 7th Street and West Grand Avenue in honor of Shanks II, who passed in December of 2019.\u003c/a>\u003c/p>\n\u003cp>“A distinguished member of the Oakland community,” reads the City Council resolution, “Mr. Shanks II’s efforts in pioneering pre-apprenticeship green construction training and workforce development concepts have not only elevated Oakland but have had a profound impact beyond our city’s borders, addressing challenges such as violence, poverty and literacy, yielding proven results nationally.”\u003c/p>\n\u003cp>At the time of the 1989 quake, Oakland was already battling a long list of issues: high unemployment, the crack epidemic and mass incarceration. Over the past four decades, the free apprenticeship program founded by Shanks II has opened career paths for thousands of people, bolstered the local construction industry and helped combat crime in the community.\u003c/p>\n\u003cp>The program also landed Shanks II numerous accolades. Under the Clinton administration, Shanks II served on the advisory board of the Federal Committee on Registered Apprenticeships. He also received awards from the Department of Transportation, the Federal Housing Authority and the Department of Labor. In 2015, Shanks II received the coveted Jefferson Award for supporting workforce development in Oakland.\u003c/p>\n\u003cp>In January of 2020, one month after his death, Sen. Nancy Skinner honored Shanks II while \u003ca href=\"https://www.youtube.com/watch?v=uwZdz2pwWf8\" target=\"_blank\" rel=\"noopener\">addressing the California Senate\u003c/a>. “The Cypress Mandela Training Program,” said Sen. Skinner, “was the very first green jobs construction program and brown fields training program ever.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uwZdz2pwWf8\u003c/p>\n\u003ch2>Continuing the family legacy\u003c/h2>\n\u003cp>When the final votes were tallied and the commemorative plaque resolution became official, Shanks III says he was beyond happy, calling it “a blessing.”\u003c/p>\n\u003cp>Shanks III says it’s confirmation that people know that by learning a trade and working hard, success is attainable.\u003c/p>\n\u003cp>But even he had to learn that the hard way.\u003c/p>\n\u003cp>“I actually had to go to the program,” he says as we sit on the tree-lined median of Mandela Parkway. “I went to jail and I called my dad from jail,” recalls Shanks III. “He hung up on me.”\u003c/p>\n\u003cp>After a little tough love from his father, Shanks III was released. He enrolled in Cypress Mandela soon after.\u003c/p>\n\u003cfigure id=\"attachment_13972056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-800x1067.jpg\" alt=\"A man stands with his back to the camera, showing the backside of a customized Oakland A's jersey that reads "A. Shanks 03."\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III in his ‘A. Shanks 03’ customized Oakland A’s jersey. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He learned a range of skills, from construction to welding. He was also interested in making media, producing videos and short films. That work has now grown to encompass multimedia making, as well as community activism.\u003c/p>\n\u003cp>Which, in a way, is exactly what his father did.\u003c/p>\n\u003cp>Shanks III says his father taught intergenerational skill development as a way to create community stability and combat neighborhood violence. To open employment pipelines, Cypress Mandela partnered with PG&E, East Bay MUD and the Oakland Unified School District, as well as established classes in local jails, reentry programs and probation departments.\u003c/p>\n\u003cp>“If you give people a way to make some money,” says Shanks III, referring to his father’s ideology, “they’re less likely to commit crimes.”\u003c/p>\n\u003cp>Just like his father, Shanks III works with local organizations, doing everything from recruiting young people for job fairs to visiting the homes of people who’ve recently lost loved ones to gunfire.\u003c/p>\n\u003cp>As a consultant, he works with the likes of \u003ca href=\"https://mentor.org/\" target=\"_blank\" rel=\"noopener\">The Mentoring Center\u003c/a> and \u003ca href=\"https://impactjustice.org/innovation/california-justice-leaders/\" target=\"_blank\" rel=\"noopener\">California Justice Leaders\u003c/a>, as well as \u003ca href=\"https://www.oaklandca.gov/departments/violence-prevention\" target=\"_blank\" rel=\"noopener\">Oakland’s Department of Violence Prevention\u003c/a> and the \u003ca href=\"https://ncapda.org/\" target=\"_blank\" rel=\"noopener\">National Coalition Against Prescription Drug Abuse\u003c/a> (NCAPDA).\u003c/p>\n\u003cp>Shanks III, a certified opioid overdose trainer, tells me, “I’ve administered Narcan right here,” as he points to the corner of Mandela Parkway and 14th Street. There, the two-story monument dedicated to the first responders of the ’89 earthquake stands adjacent to a gated area made to prevent people from sleeping in the park.\u003c/p>\n\u003cfigure id=\"attachment_13972059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sculpture ‘15 Seconds’ by Steve Gillman. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lasting impact\u003c/h2>\n\u003cp>Last year Oakland’s homicide count, \u003ca href=\"https://oaklandside.org/2025/01/14/oakland-police-end-of-year-crime-report-2024/\" target=\"_blank\" rel=\"noopener\">81 in total\u003c/a>, was lower than years prior. And overall, violent crime in Oakland has dropped since the period when Shanks II founded Cypress Mandela 35 years ago.\u003c/p>\n\u003cp>While crime waves are reflective of a number of variables, looking at changes over just one one year or even five years doesn’t always provide a clear picture. But decades worth of downward trends are evidence that something is working.\u003c/p>\n\u003cp>Through the work he does with nonprofits and organizations like \u003ca href=\"https://www.crc4sd.org/\" target=\"_blank\" rel=\"noopener\">Community Ready Corps\u003c/a>, \u003ca href=\"https://heppac.org/\" target=\"_blank\" rel=\"noopener\">HEPPAC\u003c/a>, \u003ca style=\"color: #41a62a\" href=\"https://www.self-sufficiency.org/\" target=\"_blank\" rel=\"noopener\">B.O.S.S.\u003c/a>, \u003ca href=\"https://accareconnect.org/\" target=\"_blank\" rel=\"noopener\">Alameda County Care Connect\u003c/a> and \u003ca href=\"https://prisonerswithchildren.org/all-of-us-or-none/\" target=\"_blank\" rel=\"noopener\">All Of Us Or None\u003c/a>, Shanks III sees incremental shifts. But at the same time, “a lot of people don’t know about these resources in the community… and that leads to violent cycles.”\u003c/p>\n\u003cp>Instead of “falling into that trap,” Shanks III references his father’s program. “You could actually get a trade underneath your belt,” he adds, “you could actually work hard and actually be successful.”\u003c/p>\n\u003cp>As Oakland goes through another iteration of development, the city has made it a point to erect street signs commemorating the names of people — Too Short, Tupac and Dr. Huey P. Newton — who helped to build up the Town, culturally.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Currently there is no installation date for the signs honoring Shanks II, but ideally, it would come soon. As someone who created a pipeline for workers to physically build up this community, Shanks III is more than deserving of the honor.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What does the future hold for West Oakland?\u003c/p>\n\u003cp>As three-dimensional models and digital renderings get created, decisions are being made right now that will dictate the future of the land.\u003c/p>\n\u003cp>There’s a long list of moving pieces, starting with the proposed redevelopment of the West Oakland BART station, which would bring hundreds of new residents and a shopping center in a giant 5.5-acre project called \u003ca href=\"https://mandelastation.com/\" target=\"_blank\" rel=\"noopener\">Mandela Station\u003c/a>.\u003c/p>\n\u003cp>There’s \u003ca href=\"https://dot.ca.gov/caltrans-near-me/district-4/d4-projects/vision-980\" target=\"_blank\" rel=\"noopener\">Vision 980\u003c/a>, a study and subsequent proposal to remove all or some of the 980 Freeway; in doing so, CalTrans and Oakland could potentially undo\u003ca href=\"https://oaklandside.org/2024/04/10/remove-oakland-freeway-i-980-racial-injustice-gentrification-community/\" target=\"_blank\" rel=\"noopener\"> the harm it caused when it was constructed\u003c/a>, which left the redlined African American neighborhood of West Oakland separated from downtown. There’s discussions about the future of the \u003ca href=\"https://www.kqed.org/news/11910890/how-oaklands-16th-street-train-station-helped-build-west-oakland-and-the-modern-civil-rights-movement\" target=\"_blank\" rel=\"noopener\">16th Street Station\u003c/a>, \u003ca href=\"https://www.kqed.org/news/12024819/historic-landmark-status-boosts-push-restore-iconic-west-oakland-train-station\" target=\"_blank\" rel=\"noopener\">recently added to the National Register of Historic Places\u003c/a>, which welcomed scores of African Americans arriving from southern states during the Great Migration.\u003c/p>\n\u003cp>An initiative called “\u003ca href=\"https://www.7thstreetoakland.com/\" target=\"_blank\" rel=\"noopener\">7th Street Thrives\u003c/a>” aims to return vibrancy to an area of West Oakland that was once a thriving Black business district. And there are lingering whispers about the future of \u003ca href=\"https://oaklandside.org/2024/09/10/port-oakland-howard-terminal-development/\" target=\"_blank\" rel=\"noopener\">Howard Terminal\u003c/a> which, though closer to Jack London Square, will undoubtedly impact West Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As all these pieces move, there are people pushing to ensure that the future of the land honors those who’ve contributed to it in the past.\u003c/p>\n\u003cfigure id=\"attachment_13972354\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972354\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01%E2%80%AFAM-800x1068.png\" alt=\"Three men, two in suits and the third in a collared shirt, pose for a photo. \" width=\"800\" height=\"1068\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-800x1068.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-1020x1361.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-160x214.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-768x1025.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM-1151x1536.png 1151w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-19-at-11.44.01 AM.png 1220w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III, Art Shanks II and legendary singer Lenny Williams. \u003ccite>(Courtesy of Art Shanks II)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Rising from disaster\u003c/h2>\n\u003cp>Just after a portion of the Cypress Freeway structure collapsed during the massive \u003ca href=\"https://www.conservation.ca.gov/cgs/earthquakes/loma-prieta\" target=\"_blank\" rel=\"noopener\">Loma Prieta Earthquake\u003c/a> in 1989, Art Shanks II and the other men in his family sprung to action. Shanks II, his brothers and father, all with backgrounds in construction, were in some ways ready for the unthinkable.\u003c/p>\n\u003cp>Shanks’ son, Art Shanks III, remembers his family members leaving the house, ladders in tow, and returning with stories about pulling people out of the carnage.\u003c/p>\n\u003cp>After that horrible day, Shanks II became more deeply involved with the community in the surrounding area, as well as the stretch of road that remained after the rubble was cleared. One of the westernmost main thoroughfares in Oakland, the street was desolate and dark. In the following years, it would be refurbished with a walkable tree-lined median and bike lane, and renamed in honor of the first president of South Africa, Nelson Mandela.\u003c/p>\n\u003cp>At the same time, realizing that a new generation of workers would be needed to rebuild Oakland’s infrastructure, Shanks II founded an apprenticeship program to usher in the next wave of blue collar workers; he called it the \u003ca href=\"https://www.cypressmandela.org/\" target=\"_blank\" rel=\"noopener\">Cypress Mandela Training Center\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13972055\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972055\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-800x1067.jpg\" alt=\"A man in an Oakland A's jersey and black baseball hat stand in front of a two-story sculpture of art made to look like mangled ladders. \" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0045-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III standing in front of ‘15 Seconds,’ a structure on 14th Street and Mandela Parkway in West Oakland memorializing those who lost their lives during the 1989 Loma Prieta Earthquake. The three ladders symbolize the rescue efforts of local residents, who placed ladders on the collapsed freeway to reach those trapped by the damage. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Accolades for community commitment\u003c/h2>\n\u003cp>Last summer, the \u003ca href=\"https://oakland.legistar.com/LegislationDetail.aspx?ID=6728630&GUID=E8E5E5B1-02BD-4D24-B6F6-46330AE89CA1\" target=\"_blank\" rel=\"noopener\">Oakland City Council unanimously voted to mount commemorative placards on Mandela Parkway between 7th Street and West Grand Avenue in honor of Shanks II, who passed in December of 2019.\u003c/a>\u003c/p>\n\u003cp>“A distinguished member of the Oakland community,” reads the City Council resolution, “Mr. Shanks II’s efforts in pioneering pre-apprenticeship green construction training and workforce development concepts have not only elevated Oakland but have had a profound impact beyond our city’s borders, addressing challenges such as violence, poverty and literacy, yielding proven results nationally.”\u003c/p>\n\u003cp>At the time of the 1989 quake, Oakland was already battling a long list of issues: high unemployment, the crack epidemic and mass incarceration. Over the past four decades, the free apprenticeship program founded by Shanks II has opened career paths for thousands of people, bolstered the local construction industry and helped combat crime in the community.\u003c/p>\n\u003cp>The program also landed Shanks II numerous accolades. Under the Clinton administration, Shanks II served on the advisory board of the Federal Committee on Registered Apprenticeships. He also received awards from the Department of Transportation, the Federal Housing Authority and the Department of Labor. In 2015, Shanks II received the coveted Jefferson Award for supporting workforce development in Oakland.\u003c/p>\n\u003cp>In January of 2020, one month after his death, Sen. Nancy Skinner honored Shanks II while \u003ca href=\"https://www.youtube.com/watch?v=uwZdz2pwWf8\" target=\"_blank\" rel=\"noopener\">addressing the California Senate\u003c/a>. “The Cypress Mandela Training Program,” said Sen. Skinner, “was the very first green jobs construction program and brown fields training program ever.”\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/uwZdz2pwWf8'\n title='//www.youtube.com/embed/uwZdz2pwWf8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Continuing the family legacy\u003c/h2>\n\u003cp>When the final votes were tallied and the commemorative plaque resolution became official, Shanks III says he was beyond happy, calling it “a blessing.”\u003c/p>\n\u003cp>Shanks III says it’s confirmation that people know that by learning a trade and working hard, success is attainable.\u003c/p>\n\u003cp>But even he had to learn that the hard way.\u003c/p>\n\u003cp>“I actually had to go to the program,” he says as we sit on the tree-lined median of Mandela Parkway. “I went to jail and I called my dad from jail,” recalls Shanks III. “He hung up on me.”\u003c/p>\n\u003cp>After a little tough love from his father, Shanks III was released. He enrolled in Cypress Mandela soon after.\u003c/p>\n\u003cfigure id=\"attachment_13972056\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972056\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-800x1067.jpg\" alt=\"A man stands with his back to the camera, showing the backside of a customized Oakland A's jersey that reads "A. Shanks 03."\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0041-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Art Shanks III in his ‘A. Shanks 03’ customized Oakland A’s jersey. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He learned a range of skills, from construction to welding. He was also interested in making media, producing videos and short films. That work has now grown to encompass multimedia making, as well as community activism.\u003c/p>\n\u003cp>Which, in a way, is exactly what his father did.\u003c/p>\n\u003cp>Shanks III says his father taught intergenerational skill development as a way to create community stability and combat neighborhood violence. To open employment pipelines, Cypress Mandela partnered with PG&E, East Bay MUD and the Oakland Unified School District, as well as established classes in local jails, reentry programs and probation departments.\u003c/p>\n\u003cp>“If you give people a way to make some money,” says Shanks III, referring to his father’s ideology, “they’re less likely to commit crimes.”\u003c/p>\n\u003cp>Just like his father, Shanks III works with local organizations, doing everything from recruiting young people for job fairs to visiting the homes of people who’ve recently lost loved ones to gunfire.\u003c/p>\n\u003cp>As a consultant, he works with the likes of \u003ca href=\"https://mentor.org/\" target=\"_blank\" rel=\"noopener\">The Mentoring Center\u003c/a> and \u003ca href=\"https://impactjustice.org/innovation/california-justice-leaders/\" target=\"_blank\" rel=\"noopener\">California Justice Leaders\u003c/a>, as well as \u003ca href=\"https://www.oaklandca.gov/departments/violence-prevention\" target=\"_blank\" rel=\"noopener\">Oakland’s Department of Violence Prevention\u003c/a> and the \u003ca href=\"https://ncapda.org/\" target=\"_blank\" rel=\"noopener\">National Coalition Against Prescription Drug Abuse\u003c/a> (NCAPDA).\u003c/p>\n\u003cp>Shanks III, a certified opioid overdose trainer, tells me, “I’ve administered Narcan right here,” as he points to the corner of Mandela Parkway and 14th Street. There, the two-story monument dedicated to the first responders of the ’89 earthquake stands adjacent to a gated area made to prevent people from sleeping in the park.\u003c/p>\n\u003cfigure id=\"attachment_13972059\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972059\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-800x1067.jpg\" alt=\"\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/IMG_0037-scaled.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The sculpture ‘15 Seconds’ by Steve Gillman. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A lasting impact\u003c/h2>\n\u003cp>Last year Oakland’s homicide count, \u003ca href=\"https://oaklandside.org/2025/01/14/oakland-police-end-of-year-crime-report-2024/\" target=\"_blank\" rel=\"noopener\">81 in total\u003c/a>, was lower than years prior. And overall, violent crime in Oakland has dropped since the period when Shanks II founded Cypress Mandela 35 years ago.\u003c/p>\n\u003cp>While crime waves are reflective of a number of variables, looking at changes over just one one year or even five years doesn’t always provide a clear picture. But decades worth of downward trends are evidence that something is working.\u003c/p>\n\u003cp>Through the work he does with nonprofits and organizations like \u003ca href=\"https://www.crc4sd.org/\" target=\"_blank\" rel=\"noopener\">Community Ready Corps\u003c/a>, \u003ca href=\"https://heppac.org/\" target=\"_blank\" rel=\"noopener\">HEPPAC\u003c/a>, \u003ca style=\"color: #41a62a\" href=\"https://www.self-sufficiency.org/\" target=\"_blank\" rel=\"noopener\">B.O.S.S.\u003c/a>, \u003ca href=\"https://accareconnect.org/\" target=\"_blank\" rel=\"noopener\">Alameda County Care Connect\u003c/a> and \u003ca href=\"https://prisonerswithchildren.org/all-of-us-or-none/\" target=\"_blank\" rel=\"noopener\">All Of Us Or None\u003c/a>, Shanks III sees incremental shifts. But at the same time, “a lot of people don’t know about these resources in the community… and that leads to violent cycles.”\u003c/p>\n\u003cp>Instead of “falling into that trap,” Shanks III references his father’s program. “You could actually get a trade underneath your belt,” he adds, “you could actually work hard and actually be successful.”\u003c/p>\n\u003cp>As Oakland goes through another iteration of development, the city has made it a point to erect street signs commemorating the names of people — Too Short, Tupac and Dr. Huey P. Newton — who helped to build up the Town, culturally.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Currently there is no installation date for the signs honoring Shanks II, but ideally, it would come soon. As someone who created a pipeline for workers to physically build up this community, Shanks III is more than deserving of the honor.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "An Oakland Concert by Ella Fitzgerald to Be Released This Week",
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"content": "\u003cp>The setting is less grand than suggested by the title of a new Ella Fitzgerald album, \u003cem>The Moment of Truth: Ella at the Coliseum\u003c/em>. In this case, the coliseum is not in Rome or Los Angeles, nor is it the former Oakland A’s ballpark commonly referred to as “the Coliseum” in Oakland — but the Oakland-Alameda County Coliseum Arena in Oakland, California.\u003c/p>\n\u003cp>Jazz giant Fitzgerald’s presence elevated any event, however, and that was the case on June 30, 1967, when she performed at a concert that also included the Duke Ellington Orchestra and other luminaries.\u003c/p>\n\u003cp>\u003cem>The Moment of Truth\u003c/em> documents Fitzgerald’s set, and her incomparable alto is in typically fine form. She bounces and glides, blares and coos, bellows and whoops and scats and swings to the audience’s delight. “If you love her, clap!” someone shouts.\u003c/p>\n\u003cfigure id=\"attachment_13972337\" class=\"wp-caption aligncenter\" style=\"max-width: 1175px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d.png\" alt=\"\" width=\"1175\" height=\"544\" class=\"size-full wp-image-13972337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d.png 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d-800x370.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d-1020x472.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d-160x74.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d-768x356.png 768w\" sizes=\"auto, (max-width: 1175px) 100vw, 1175px\">\u003cfigcaption class=\"wp-caption-text\">Ella Fitzgeralrd’s 1967 concert was recorded live in concert at the Oakland Arena. \u003ccite>(Oakland Arena)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album, released Friday, Feb. 28, features performances of nine songs unearthed from the private tape collection of Verve Records founder Norman Granz. The vinyl release offers outstanding sound quality and extensive, informative liner notes by the critic Will Friedwald. He notes that while it was unusual for Fitzgerald to sing contemporary pop tunes, the set includes her only known performance of two classics from the mid-1960s — the Burt Bacharach and Hal David penned “Alfie” and Bob Crewe’s “Music to Watch Girls By.”\u003c/p>\n\u003cp>Fitzgerald is accompanied by a piano trio, and on several songs by the Ellington orchestra, with whom she had a lengthy 1960s collaboration. Ellington doesn’t play, however, and the understated arrangements leave the spotlight entirely to Fitzgerald. She’s in a playful mood in her on stage banter, teasing a late arrival, impersonating Louis Armstrong, and ruling out a striptease.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13967094']Her singing is radiant as she turns sophisticated melodies into a thrill ride. Their direction is as unpredictable as a pinball, with rhythmic daring and inventiveness that could make an arena sway. And it probably did.\u003c/p>\n\u003cp>Fitzgerald flies high on “Mack the Knife,” and displays jazzy verve on Benny Goodman’s “Don’t Be That Way” and the Tony Bennett staple “The Moment of Truth,” while “You’ve Changed” shimmers with bluesy beauty. On “Let’s Do It (Let’s Fall in Love),” her phrasing is as clever as Cole Porter’s lyrics. In her version, she injects references to the Beatles,James Bond, Richard Burton and Elizabeth Taylor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Friedwald notes, Fitzgerald rarely drew from the Burt Bacharach-Hal David catalogue. But her interpretation of their classic ballad “Alfie” is a marvel of technique, emotional investment and creativity, including a brief digression. Fitzgerald navigates the complicated melody and rhythm with ease. It’s an exemplar of the album, because as always, in keeping with the advice of the lyrics, her heart leads the way.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The setting is less grand than suggested by the title of a new Ella Fitzgerald album, \u003cem>The Moment of Truth: Ella at the Coliseum\u003c/em>. In this case, the coliseum is not in Rome or Los Angeles, nor is it the former Oakland A’s ballpark commonly referred to as “the Coliseum” in Oakland — but the Oakland-Alameda County Coliseum Arena in Oakland, California.\u003c/p>\n\u003cp>Jazz giant Fitzgerald’s presence elevated any event, however, and that was the case on June 30, 1967, when she performed at a concert that also included the Duke Ellington Orchestra and other luminaries.\u003c/p>\n\u003cp>\u003cem>The Moment of Truth\u003c/em> documents Fitzgerald’s set, and her incomparable alto is in typically fine form. She bounces and glides, blares and coos, bellows and whoops and scats and swings to the audience’s delight. “If you love her, clap!” someone shouts.\u003c/p>\n\u003cfigure id=\"attachment_13972337\" class=\"wp-caption aligncenter\" style=\"max-width: 1175px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d.png\" alt=\"\" width=\"1175\" height=\"544\" class=\"size-full wp-image-13972337\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d.png 1175w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d-800x370.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d-1020x472.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d-160x74.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/new-c29ea3473d-768x356.png 768w\" sizes=\"auto, (max-width: 1175px) 100vw, 1175px\">\u003cfigcaption class=\"wp-caption-text\">Ella Fitzgeralrd’s 1967 concert was recorded live in concert at the Oakland Arena. \u003ccite>(Oakland Arena)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The album, released Friday, Feb. 28, features performances of nine songs unearthed from the private tape collection of Verve Records founder Norman Granz. The vinyl release offers outstanding sound quality and extensive, informative liner notes by the critic Will Friedwald. He notes that while it was unusual for Fitzgerald to sing contemporary pop tunes, the set includes her only known performance of two classics from the mid-1960s — the Burt Bacharach and Hal David penned “Alfie” and Bob Crewe’s “Music to Watch Girls By.”\u003c/p>\n\u003cp>Fitzgerald is accompanied by a piano trio, and on several songs by the Ellington orchestra, with whom she had a lengthy 1960s collaboration. Ellington doesn’t play, however, and the understated arrangements leave the spotlight entirely to Fitzgerald. She’s in a playful mood in her on stage banter, teasing a late arrival, impersonating Louis Armstrong, and ruling out a striptease.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Her singing is radiant as she turns sophisticated melodies into a thrill ride. Their direction is as unpredictable as a pinball, with rhythmic daring and inventiveness that could make an arena sway. And it probably did.\u003c/p>\n\u003cp>Fitzgerald flies high on “Mack the Knife,” and displays jazzy verve on Benny Goodman’s “Don’t Be That Way” and the Tony Bennett staple “The Moment of Truth,” while “You’ve Changed” shimmers with bluesy beauty. On “Let’s Do It (Let’s Fall in Love),” her phrasing is as clever as Cole Porter’s lyrics. In her version, she injects references to the Beatles,James Bond, Richard Burton and Elizabeth Taylor.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As Friedwald notes, Fitzgerald rarely drew from the Burt Bacharach-Hal David catalogue. But her interpretation of their classic ballad “Alfie” is a marvel of technique, emotional investment and creativity, including a brief digression. Fitzgerald navigates the complicated melody and rhythm with ease. It’s an exemplar of the album, because as always, in keeping with the advice of the lyrics, her heart leads the way.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The epigraph for Briana Loewinsohn’s wonderfully nostalgic new graphic memoir \u003ci>Raised by Ghosts\u003c/i> reads, “This is not a love story. It is a love letter.” Set during the author’s middle and high school years in Berkeley, Oakland and \u003ca href=\"https://www.kqed.org/arts/tag/el-cerrito\">El Cerrito\u003c/a> in the 1990s, the book is a coming-of-age story about the deep loneliness of being a teenager, and also the transformative power of friendship and art.\u003c/p>\n\u003cp>It’s also, as much as anything, about the magic of handwritten letters and notes.\u003c/p>\n\u003cp>Reached by phone, the Oakland cartoonist explains that this was actually the impetus for the whole book: “First and foremost I wanted to write about notes,” she says.\u003c/p>\n\u003cp>Over the course of the graphic novel’s 200 pages, Loewinsohn’s adolescent self is constantly writing notes to her friends. She folds them up into little triangles and passes them when the teacher isn’t looking, and marvels at how good and funny and weird a certain friend’s notes always are.\u003c/p>\n\u003cfigure id=\"attachment_13972139\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes.jpg\" alt='Four panels from a graphic novel: A girl dozes off at her desk in class. Then, a hand reaches out to hand her a piece of paper folded up into a triangle. \"Briana\" is written on the outside of the note.' width=\"2000\" height=\"2012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-768x773.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1527x1536.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1920x1932.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Handwritten notes are a through line in this coming-of-age story. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book also features what has become one of Loewinsohn’s signature devices (debuted in her KQED series on old East Bay \u003ca href=\"https://www.kqed.org/arts/13930727/comic-lost-cafes-coffee-shops-the-med-au-coquelet-gaylords-oakland-berkeley\">coffee shops\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">movie theaters\u003c/a>), wherein she includes a handwritten note — something like a diary entry — every few pages, between scenes. Like her \u003ca href=\"https://www.kqed.org/arts/13926136/poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood\">debut memoir, \u003ci>Ephemera\u003c/i>\u003c/a>, about her early childhood, \u003ci>Raised by Ghosts \u003c/i>has a quiet beauty, and many of the panels have little to no dialogue whatsoever. Against that backdrop, the handwritten interludes give deeper insight into what she’s thinking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[The other kids] all seem to understand how to be in the world in a way that I do not,” she writes in one note. “They punch each other and laugh. Then they punch someone else. They get it.” In another, about her dad: “He will never ask how my day was or how school is going. But he will also never bother me. … Some days, though, I wouldn’t mind being bothered.”\u003c/p>\n\u003cp>Loewinsohn says she’s kept every single note that her friends ever gave her. As research for the book, she went back and reread all of them — along with her high school journal and every email she wrote in 1997 — to put herself back into that “cringeworthy” mode of teenage self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13972145\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman.jpg\" alt=\"Panels from a graphic novel: Each panels progressively zooms out, showing teens sprawled in a field, each listening to their own Walkman.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The book is a nostalgic trip for readers who grew up in the ’90s, listening to Walkmans and talking on landline telephones. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Loewinsohn thinks back on all the notes she exchanged with her friends as an early form of social media.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13968201,arts_13930727,arts_13926136']\u003c/span>\u003c/span>“It was a cure for boredom, definitely, and a conduit for gossip,” she says. “But I think it really just made you feel connected to people even when you maybe weren’t with them, because you were like, ‘Oh, I’m writing a note to this person, or I’m waiting to get a note.’ There was that serotonin bump when you would get a note.”\u003c/p>\n\u003cp>As Loewinsohn’s teenage self explains in one of the handwritten notes that are interspersed throughout the book, “Notes make us feel … like we have a friend with us when really we are surrounded by zombies. … I can’t imagine how lonely I’d feel without them.”\u003c/p>\n\u003cp>\u003ci>Raised by Ghosts \u003c/i>will resonate with Gen Xers and elder millennials who went to high school in the ’90s, watched the same \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">movies\u003c/a> and TV shows, and made mixtapes with the same bands (Tupac, Green Day, The Smashing Pumpkins). Readers who grew up in the East Bay, in particular, will get a heavy dose of nostalgia from Loewinsohn’s lovingly rendered drawings of the old haunts where she and her friends spent their nights and weekends: Moe’s Books, Amoeba Music, Albany Bowl, all ages shows at Berkeley Square.\u003c/p>\n\u003cfigure id=\"attachment_13972142\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books.jpg\" alt=\"Illustration: A young woman strolls down a downtown street. The signs on the storefronts read, "Shambhala Publications" and "Moe's Books."\" width=\"2000\" height=\"2008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1530x1536.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1920x1928.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The book takes place at popular teen hangouts in the East Bay of the 1990s — including stores like Amoeba Music and Moe’s Books in Berkeley. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the book was really written with a teenage audience in mind, says Loewinsohn. On the one hand, she thinks many pages in \u003ci>Raised by Ghosts\u003c/i> will read as fun objects of curiosity for teens today, who might not talk on the phone at all anymore or at least not in the same way we Olds did — for six hours sometimes, twisting the long cord around our fingers, until our parents kicked us off the line or we literally fell asleep. They may have never known what it was like to fold up a handwritten note during a time when social media didn’t exist in the same way. (One of the most fun outcomes of the book, Loewinsohn says, would be if it helps spark a resurgence in note-writing among teens — which is why she included detailed origami diagrams for three different note-folding techniques in the appendix.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972147 alignright\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-160x206.jpg\" alt=\"Cover for the book 'Raised by Ghosts.'\" width=\"240\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1020x1311.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1195x1536.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1593x2048.jpg 1593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1920x2468.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-scaled.jpg 1991w\" sizes=\"auto, (max-width: 240px) 100vw, 240px\">\u003c/p>\n\u003cp>Even more than that, though, Loewinsohn hopes young readers will take the book’s message to heart. “The intention of the book is really just to acknowledge how hard it is to be a teenager and how big the feelings are — whether they’re founded or unfounded is inconsequential. It is \u003ci>hard\u003c/i> to be a teenager,” she says. “And the book is to acknowledge that and to tell you, I see you. You’re doing great. Keep going, and look for things in your life that help you feel connected.”\u003c/p>\n\u003cp>It’s fitting, then, that one of Loewinsohn’s very first events promoting \u003ci>Raised by Ghosts\u003c/i> will be geared specifically for a teen audience. Her Feb. 22 reading at the Oakland Public Library will feature a Q&A led by fellow Oakland graphic novelist (and frequent \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">KQED contributor\u003c/a>) \u003ca href=\"https://www.kqed.org/arts/13930458/thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry\">Thien Pham\u003c/a>, and Loewinsohn will also spend some time talking about how she got into drawing comics to begin with.\u003c/p>\n\u003cp>When asked about the challenges of catering a book event for a younger crowd, Loewinsohn noted that she talks to teenagers every day. She’s worked as a high school art teacher for the past 20 years, after all.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/raised-by-ghosts?srsltid=AfmBOoopc3MlFgJFoIITS5LmDU5g4a8f1WbR0yb-b4RBpyvW2iQ2Tskv\">Raised by Ghosts\u003c/a> \u003ci>is available at all booksellers now. The \u003c/i>\u003ca href=\"https://www.instagram.com/p/DF_v8bSPsZH/\">\u003ci>Oakland Public Library event\u003c/i>\u003c/a>\u003ci> will take place on Saturday, Feb. 22, at 4 p.m., in the TeenZone at the main branch (125 14th St., Oakland). Follow Loewinsohn on \u003c/i>\u003ca href=\"https://www.instagram.com/brianabreaks/\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci> for details on other upcoming events.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The epigraph for Briana Loewinsohn’s wonderfully nostalgic new graphic memoir \u003ci>Raised by Ghosts\u003c/i> reads, “This is not a love story. It is a love letter.” Set during the author’s middle and high school years in Berkeley, Oakland and \u003ca href=\"https://www.kqed.org/arts/tag/el-cerrito\">El Cerrito\u003c/a> in the 1990s, the book is a coming-of-age story about the deep loneliness of being a teenager, and also the transformative power of friendship and art.\u003c/p>\n\u003cp>It’s also, as much as anything, about the magic of handwritten letters and notes.\u003c/p>\n\u003cp>Reached by phone, the Oakland cartoonist explains that this was actually the impetus for the whole book: “First and foremost I wanted to write about notes,” she says.\u003c/p>\n\u003cp>Over the course of the graphic novel’s 200 pages, Loewinsohn’s adolescent self is constantly writing notes to her friends. She folds them up into little triangles and passes them when the teacher isn’t looking, and marvels at how good and funny and weird a certain friend’s notes always are.\u003c/p>\n\u003cfigure id=\"attachment_13972139\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972139\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes.jpg\" alt='Four panels from a graphic novel: A girl dozes off at her desk in class. Then, a hand reaches out to hand her a piece of paper folded up into a triangle. \"Briana\" is written on the outside of the note.' width=\"2000\" height=\"2012\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-768x773.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1527x1536.jpg 1527w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-notes-1920x1932.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Handwritten notes are a through line in this coming-of-age story. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The book also features what has become one of Loewinsohn’s signature devices (debuted in her KQED series on old East Bay \u003ca href=\"https://www.kqed.org/arts/13930727/comic-lost-cafes-coffee-shops-the-med-au-coquelet-gaylords-oakland-berkeley\">coffee shops\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">movie theaters\u003c/a>), wherein she includes a handwritten note — something like a diary entry — every few pages, between scenes. Like her \u003ca href=\"https://www.kqed.org/arts/13926136/poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood\">debut memoir, \u003ci>Ephemera\u003c/i>\u003c/a>, about her early childhood, \u003ci>Raised by Ghosts \u003c/i>has a quiet beauty, and many of the panels have little to no dialogue whatsoever. Against that backdrop, the handwritten interludes give deeper insight into what she’s thinking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[The other kids] all seem to understand how to be in the world in a way that I do not,” she writes in one note. “They punch each other and laugh. Then they punch someone else. They get it.” In another, about her dad: “He will never ask how my day was or how school is going. But he will also never bother me. … Some days, though, I wouldn’t mind being bothered.”\u003c/p>\n\u003cp>Loewinsohn says she’s kept every single note that her friends ever gave her. As research for the book, she went back and reread all of them — along with her high school journal and every email she wrote in 1997 — to put herself back into that “cringeworthy” mode of teenage self-expression.\u003c/p>\n\u003cfigure id=\"attachment_13972145\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972145\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman.jpg\" alt=\"Panels from a graphic novel: Each panels progressively zooms out, showing teens sprawled in a field, each listening to their own Walkman.\" width=\"2000\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-walkman-1920x1920.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The book is a nostalgic trip for readers who grew up in the ’90s, listening to Walkmans and talking on landline telephones. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now, Loewinsohn thinks back on all the notes she exchanged with her friends as an early form of social media.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>“It was a cure for boredom, definitely, and a conduit for gossip,” she says. “But I think it really just made you feel connected to people even when you maybe weren’t with them, because you were like, ‘Oh, I’m writing a note to this person, or I’m waiting to get a note.’ There was that serotonin bump when you would get a note.”\u003c/p>\n\u003cp>As Loewinsohn’s teenage self explains in one of the handwritten notes that are interspersed throughout the book, “Notes make us feel … like we have a friend with us when really we are surrounded by zombies. … I can’t imagine how lonely I’d feel without them.”\u003c/p>\n\u003cp>\u003ci>Raised by Ghosts \u003c/i>will resonate with Gen Xers and elder millennials who went to high school in the ’90s, watched the same \u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">movies\u003c/a> and TV shows, and made mixtapes with the same bands (Tupac, Green Day, The Smashing Pumpkins). Readers who grew up in the East Bay, in particular, will get a heavy dose of nostalgia from Loewinsohn’s lovingly rendered drawings of the old haunts where she and her friends spent their nights and weekends: Moe’s Books, Amoeba Music, Albany Bowl, all ages shows at Berkeley Square.\u003c/p>\n\u003cfigure id=\"attachment_13972142\" class=\"wp-caption alignnone\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972142\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books.jpg\" alt=\"Illustration: A young woman strolls down a downtown street. The signs on the storefronts read, "Shambhala Publications" and "Moe's Books."\" width=\"2000\" height=\"2008\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-800x803.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1020x1024.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-768x771.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1530x1536.jpg 1530w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/raised-by-ghosts-moes-books-1920x1928.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The book takes place at popular teen hangouts in the East Bay of the 1990s — including stores like Amoeba Music and Moe’s Books in Berkeley. \u003ccite>(Fantagraphics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the book was really written with a teenage audience in mind, says Loewinsohn. On the one hand, she thinks many pages in \u003ci>Raised by Ghosts\u003c/i> will read as fun objects of curiosity for teens today, who might not talk on the phone at all anymore or at least not in the same way we Olds did — for six hours sometimes, twisting the long cord around our fingers, until our parents kicked us off the line or we literally fell asleep. They may have never known what it was like to fold up a handwritten note during a time when social media didn’t exist in the same way. (One of the most fun outcomes of the book, Loewinsohn says, would be if it helps spark a resurgence in note-writing among teens — which is why she included detailed origami diagrams for three different note-folding techniques in the appendix.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13972147 alignright\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-160x206.jpg\" alt=\"Cover for the book 'Raised by Ghosts.'\" width=\"240\" height=\"309\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-800x1028.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1020x1311.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-768x987.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1195x1536.jpg 1195w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1593x2048.jpg 1593w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-1920x2468.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Raised-by-Ghosts_Loewinsohn_SOLIC-scaled.jpg 1991w\" sizes=\"auto, (max-width: 240px) 100vw, 240px\">\u003c/p>\n\u003cp>Even more than that, though, Loewinsohn hopes young readers will take the book’s message to heart. “The intention of the book is really just to acknowledge how hard it is to be a teenager and how big the feelings are — whether they’re founded or unfounded is inconsequential. It is \u003ci>hard\u003c/i> to be a teenager,” she says. “And the book is to acknowledge that and to tell you, I see you. You’re doing great. Keep going, and look for things in your life that help you feel connected.”\u003c/p>\n\u003cp>It’s fitting, then, that one of Loewinsohn’s very first events promoting \u003ci>Raised by Ghosts\u003c/i> will be geared specifically for a teen audience. Her Feb. 22 reading at the Oakland Public Library will feature a Q&A led by fellow Oakland graphic novelist (and frequent \u003ca href=\"https://www.kqed.org/arts/tag/the-midnight-diners\">KQED contributor\u003c/a>) \u003ca href=\"https://www.kqed.org/arts/13930458/thien-pham-family-style-graphic-novel-food-memoir-vietnamese-refugee-san-jose-hella-hungry\">Thien Pham\u003c/a>, and Loewinsohn will also spend some time talking about how she got into drawing comics to begin with.\u003c/p>\n\u003cp>When asked about the challenges of catering a book event for a younger crowd, Loewinsohn noted that she talks to teenagers every day. She’s worked as a high school art teacher for the past 20 years, after all.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/raised-by-ghosts?srsltid=AfmBOoopc3MlFgJFoIITS5LmDU5g4a8f1WbR0yb-b4RBpyvW2iQ2Tskv\">Raised by Ghosts\u003c/a> \u003ci>is available at all booksellers now. The \u003c/i>\u003ca href=\"https://www.instagram.com/p/DF_v8bSPsZH/\">\u003ci>Oakland Public Library event\u003c/i>\u003c/a>\u003ci> will take place on Saturday, Feb. 22, at 4 p.m., in the TeenZone at the main branch (125 14th St., Oakland). Follow Loewinsohn on \u003c/i>\u003ca href=\"https://www.instagram.com/brianabreaks/\">\u003ci>Instagram\u003c/i>\u003c/a>\u003ci> for details on other upcoming events.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Trailer for Oakland Film ‘Freaky Tales’ Is a Love Letter to ’80s Bay Area Culture",
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"content": "\u003cp>Ever since everyone’s favorite internet daddy Pedro Pascal \u003ca href=\"https://x.com/jemmawei/status/1592971050899292162\">was first spotted\u003c/a> filming near the Fox Theater in late 2022, Bay Area movie lovers have been \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">buzzing with anticipation\u003c/a> for the Oakland-shot film \u003cem>Freaky Tales\u003c/em>.\u003c/p>\n\u003cp>Named after Oakland legend (and executive producer) Too Short’s 1987 hit single, \u003cem>Freaky Tales\u003c/em> drew so much excitement at last year’s Sundance Festival, organizers had to \u003ca href=\"https://flipscreened.com/2024/07/22/sundance-2024-review-freaky-tales/\">add a second screening\u003c/a> to the schedule.\u003c/p>\n\u003cp>Now, more fuel to fan the flames: Lionsgate just dropped the official trailer, which is full of Easter eggs for Oakland locals from the opening shot — an “East Bay Mix” mixtape getting popped into a car’s cassette deck.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">[aside postID='arts_13922548']\u003c/span>\u003c/span>“The underdog believes he can do the impossible,” Pascal’s voiceover narration says. “Defeat the bully. Sell enough mixtapes to get out of the hood …”\u003c/p>\n\u003cp>Cue the record scratch, as Too Short’s unmistakeable voice cuts in: “Now hold up, we’ve got to take it from the top.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-2e8SYmofZM\u003c/p>\n\u003cp>Written and directed by Anna Boden and Ryan Fleck (who was raised in the East Bay), the duo behind \u003cem>Captain Marvel\u003c/em>, \u003cem>Freaky Tales\u003c/em> is set in Oakland in 1987 and looks to be firmly rooted in ’80s Bay Area hustle culture. The trailer is packed with local landmarks and references: the Mormon temple lit up at night. Sweet Jimmie’s nightclub, now known as the New Parish. Warriors legend Sleepy Floyd (who famously scored a record-setting 29 points in a fourth quarter playoff upset against the Lakers) sword-fighting (!) against Nazis (!!) outside punk club 924 Gilman (!!!).\u003c/p>\n\u003cp>And while Late Night Video, the Telegraph Avenue video store where several pivotal scenes take place, isn’t real, the storefront is located right next door to a hair salon called \u003ca href=\"https://www.yelp.com/biz/jazmine-african-hair-braiding-oakland\">Jasmine African Hair Braiding\u003c/a>, which very much is.\u003c/p>\n\u003cfigure id=\"attachment_13972041\" class=\"wp-caption alignnone\" style=\"max-width: 2880px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30%E2%80%AFPM.png\" alt=\"Still shot from the 'Freaky Tales' trailer shows a "Late Night Video" storefront next to a braiding salon.\" width=\"2880\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM.png 2880w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-800x417.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1020x531.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-768x400.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1536x800.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-2048x1067.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1920x1000.png 1920w\" sizes=\"auto, (max-width: 2880px) 100vw, 2880px\">\u003cfigcaption class=\"wp-caption-text\">A view of Telegraph Avenue, as seen in the ‘Freaky Tales’ trailer. \u003ccite>(Courtesy of Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Pascal, who plays a debt collector, \u003cem>Freaky Friday\u003c/em> also stars Ben Mendelsohn, Jay Ellis and the singer Normani, and it’s the last film in which the charismatic Oakland actor Angus Cloud appeared before he \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">died tragically in 2023\u003c/a>. Oakland icons Tom Hanks and Too Short himself also make cameos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It wasn’t every day a story like this hit The Town,” Too Short’s narrator says toward the end of the trailer. Audiences will have a chance to see it for themselves on April 4, when the movie hits theaters nationwide.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since everyone’s favorite internet daddy Pedro Pascal \u003ca href=\"https://x.com/jemmawei/status/1592971050899292162\">was first spotted\u003c/a> filming near the Fox Theater in late 2022, Bay Area movie lovers have been \u003ca href=\"https://www.kqed.org/arts/13922548/too-short-way-oakland-street-renamed\">buzzing with anticipation\u003c/a> for the Oakland-shot film \u003cem>Freaky Tales\u003c/em>.\u003c/p>\n\u003cp>Named after Oakland legend (and executive producer) Too Short’s 1987 hit single, \u003cem>Freaky Tales\u003c/em> drew so much excitement at last year’s Sundance Festival, organizers had to \u003ca href=\"https://flipscreened.com/2024/07/22/sundance-2024-review-freaky-tales/\">add a second screening\u003c/a> to the schedule.\u003c/p>\n\u003cp>Now, more fuel to fan the flames: Lionsgate just dropped the official trailer, which is full of Easter eggs for Oakland locals from the opening shot — an “East Bay Mix” mixtape getting popped into a car’s cassette deck.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003cspan style=\"color: #2b2b2b;font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/span>“The underdog believes he can do the impossible,” Pascal’s voiceover narration says. “Defeat the bully. Sell enough mixtapes to get out of the hood …”\u003c/p>\n\u003cp>Cue the record scratch, as Too Short’s unmistakeable voice cuts in: “Now hold up, we’ve got to take it from the top.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-2e8SYmofZM'\n title='//www.youtube.com/embed/-2e8SYmofZM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Written and directed by Anna Boden and Ryan Fleck (who was raised in the East Bay), the duo behind \u003cem>Captain Marvel\u003c/em>, \u003cem>Freaky Tales\u003c/em> is set in Oakland in 1987 and looks to be firmly rooted in ’80s Bay Area hustle culture. The trailer is packed with local landmarks and references: the Mormon temple lit up at night. Sweet Jimmie’s nightclub, now known as the New Parish. Warriors legend Sleepy Floyd (who famously scored a record-setting 29 points in a fourth quarter playoff upset against the Lakers) sword-fighting (!) against Nazis (!!) outside punk club 924 Gilman (!!!).\u003c/p>\n\u003cp>And while Late Night Video, the Telegraph Avenue video store where several pivotal scenes take place, isn’t real, the storefront is located right next door to a hair salon called \u003ca href=\"https://www.yelp.com/biz/jazmine-african-hair-braiding-oakland\">Jasmine African Hair Braiding\u003c/a>, which very much is.\u003c/p>\n\u003cfigure id=\"attachment_13972041\" class=\"wp-caption alignnone\" style=\"max-width: 2880px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13972041\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30%E2%80%AFPM.png\" alt=\"Still shot from the 'Freaky Tales' trailer shows a "Late Night Video" storefront next to a braiding salon.\" width=\"2880\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM.png 2880w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-800x417.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1020x531.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-160x83.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-768x400.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1536x800.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-2048x1067.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-1.48.30 PM-1920x1000.png 1920w\" sizes=\"auto, (max-width: 2880px) 100vw, 2880px\">\u003cfigcaption class=\"wp-caption-text\">A view of Telegraph Avenue, as seen in the ‘Freaky Tales’ trailer. \u003ccite>(Courtesy of Lionsgate Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In addition to Pascal, who plays a debt collector, \u003cem>Freaky Friday\u003c/em> also stars Ben Mendelsohn, Jay Ellis and the singer Normani, and it’s the last film in which the charismatic Oakland actor Angus Cloud appeared before he \u003ca href=\"https://www.kqed.org/arts/13932485/tributes-angus-cloud-euphoria-oakland-osa-kehlani-zendaya-kev-choice-jwalt\">died tragically in 2023\u003c/a>. Oakland icons Tom Hanks and Too Short himself also make cameos.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It wasn’t every day a story like this hit The Town,” Too Short’s narrator says toward the end of the trailer. Audiences will have a chance to see it for themselves on April 4, when the movie hits theaters nationwide.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sure, the Bay Area has big names and colorful personas who’ve made their mark on pop culture — E-40, Green Day, Sly and the Family Stone. But an equally powerful yet less visible mover and shaker is Raphael Saadiq.\u003c/p>\n\u003cp>Not only did he and his family band, Tony! Toni! Toné!, record some of R&B’s all-time classics in the late ’80s and early ’90s, but Saadiq has continued to define the soulful sounds of the next generation. Most recently, that’s through his songwriting and production on Beyoncé’s \u003ci>Renaissance\u003c/i> and \u003ci>Cowboy Carter\u003c/i>, and his soundtrack work for the highly anticipated, Oakland-set thriller, \u003cem>\u003ca href=\"https://youtu.be/-2e8SYmofZM?feature=shared\">Freaky Tales\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>On Tuesday, Saadiq announced a new one-man show that will look back at his illustrious career, \u003ca href=\"https://go.seated.com/tour-events/e445617d-1ec9-473d-838a-b35721a10870\">No Bandwidth: One Man, One Night, Three Decades of Hits\u003c/a>. The production has only three stops: New York’s legendary Apollo Theater on May 31, L.A.’s United Theater on Broadway on June 6 and a hometown finale at Oakland’s Fox Theater on June 7. Tickets go on sale to the general public on Feb. 21 at 10 a.m., with an artist presale that begins on Feb. 19.\u003c/p>\n\u003cp>“I’ve always wanted to do a one-man show. I want to challenge myself,” said the artist in a statement. “My one-person show has three acts; I will be talking about my career, bringing a couple of instruments to express myself, singing my original music as well as covers of songs I wish I had written, and more. I want it to feel magical and like a Broadway show.”\u003c/p>\n\u003cp>Fans got a taste of Saadiq’s dynamic stage presence at Tony! Toni! Toné!’s sold-out reunion at the Paramount Theatre in 2023, where the band performed hits like “Feels Good,” “Anniversary” and “Let’s Get Down,” all executed with top-tier instrumentation and buttery-smooth vocals. In a testament to the band’s cultural impact, surprise guests included former Black Panther Elaine Brown and hip-hop veteran DJ Quik.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13937961']Mostly Black Oaklanders of different ages — whether they danced to Tony! Toni! Toné! at prom or first heard their music as babies — two-stepped in sharp suits, cocktail dresses and other finery. With everyone’s phones locked away in pouches, it was a truly intentional night of music, one where the audience and artists alike became fully present as they beamed at one another in appreciation.\u003c/p>\n\u003cp>With an intimate storytelling approach on No Bandwidth, Saadiq follows a format that other stars, including Madonna and John Legend, have adopted at their recent concerts, letting fans in on the personal stories behind the hits. The Oakland show, especially, promises to be sentimental.\u003c/p>\n\u003cp>“You know, we’ve not just played music in that city, but we’ve lost family members in that city,” Saadiq \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">told KQED in 2023\u003c/a>. “We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets … We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets to Raphael Saadiq’s No Bandwidth: One Man, One Night, Three Decades of Hits go on sale to the general public on Feb. 21 at 10 a.m., with an artist presale that begins on Feb. 19 at 10 a.m. \u003ca href=\"https://go.seated.com/tour-events/e445617d-1ec9-473d-838a-b35721a10870\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sure, the Bay Area has big names and colorful personas who’ve made their mark on pop culture — E-40, Green Day, Sly and the Family Stone. But an equally powerful yet less visible mover and shaker is Raphael Saadiq.\u003c/p>\n\u003cp>Not only did he and his family band, Tony! Toni! Toné!, record some of R&B’s all-time classics in the late ’80s and early ’90s, but Saadiq has continued to define the soulful sounds of the next generation. Most recently, that’s through his songwriting and production on Beyoncé’s \u003ci>Renaissance\u003c/i> and \u003ci>Cowboy Carter\u003c/i>, and his soundtrack work for the highly anticipated, Oakland-set thriller, \u003cem>\u003ca href=\"https://youtu.be/-2e8SYmofZM?feature=shared\">Freaky Tales\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>On Tuesday, Saadiq announced a new one-man show that will look back at his illustrious career, \u003ca href=\"https://go.seated.com/tour-events/e445617d-1ec9-473d-838a-b35721a10870\">No Bandwidth: One Man, One Night, Three Decades of Hits\u003c/a>. The production has only three stops: New York’s legendary Apollo Theater on May 31, L.A.’s United Theater on Broadway on June 6 and a hometown finale at Oakland’s Fox Theater on June 7. Tickets go on sale to the general public on Feb. 21 at 10 a.m., with an artist presale that begins on Feb. 19.\u003c/p>\n\u003cp>“I’ve always wanted to do a one-man show. I want to challenge myself,” said the artist in a statement. “My one-person show has three acts; I will be talking about my career, bringing a couple of instruments to express myself, singing my original music as well as covers of songs I wish I had written, and more. I want it to feel magical and like a Broadway show.”\u003c/p>\n\u003cp>Fans got a taste of Saadiq’s dynamic stage presence at Tony! Toni! Toné!’s sold-out reunion at the Paramount Theatre in 2023, where the band performed hits like “Feels Good,” “Anniversary” and “Let’s Get Down,” all executed with top-tier instrumentation and buttery-smooth vocals. In a testament to the band’s cultural impact, surprise guests included former Black Panther Elaine Brown and hip-hop veteran DJ Quik.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mostly Black Oaklanders of different ages — whether they danced to Tony! Toni! Toné! at prom or first heard their music as babies — two-stepped in sharp suits, cocktail dresses and other finery. With everyone’s phones locked away in pouches, it was a truly intentional night of music, one where the audience and artists alike became fully present as they beamed at one another in appreciation.\u003c/p>\n\u003cp>With an intimate storytelling approach on No Bandwidth, Saadiq follows a format that other stars, including Madonna and John Legend, have adopted at their recent concerts, letting fans in on the personal stories behind the hits. The Oakland show, especially, promises to be sentimental.\u003c/p>\n\u003cp>“You know, we’ve not just played music in that city, but we’ve lost family members in that city,” Saadiq \u003ca href=\"https://www.kqed.org/arts/13937961/tony-toni-tone-reunion-oakland-interview-paramount-theatre\">told KQED in 2023\u003c/a>. “We ate a lot of cheeseburgers in that city. We ate a lot of donuts. We’ve had a lot of fights with people. We dodged bullets … We watched karate movies at Eastmont Mall at the Lux. We got to watch buildings go up and go down. We watched the whole city change from Black to what it is now.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tickets to Raphael Saadiq’s No Bandwidth: One Man, One Night, Three Decades of Hits go on sale to the general public on Feb. 21 at 10 a.m., with an artist presale that begins on Feb. 19 at 10 a.m. \u003ca href=\"https://go.seated.com/tour-events/e445617d-1ec9-473d-838a-b35721a10870\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Black Joy Parade Weekend Kicks Off With Free Plants",
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"content": "\u003cp>It’s the week of Oakland’s annual Black Joy Parade, and \u003ca href=\"https://www.instagram.com/p/DGBaZKMSMVv/\" target=\"_blank\" rel=\"noopener\">the festivities have already kicked off\u003c/a>.\u003c/p>\n\u003cp>Culminating in a parade and festival on Sunday, Feb. 23, in downtown Oakland, the week-long celebration includes a Black women’s basketball museum at OakStop in Oakland and a wine festival at the Ciel Creative Space in Berkeley.\u003c/p>\n\u003cp>On Saturday Feb. 22, \u003ca href=\"https://linktr.ee/Hellaplants?fbclid=PAZXh0bgNhZW0CMTEAAab5ovCZ0fizVhBrYDDcHTbUM2vmAjtGgsAM89jjVPk1B455PbWYqbUikA8_aem_BJqix7T3EF34lhQj5MhYpA\" target=\"_blank\" rel=\"noopener\">Hella Plants Market \u003c/a>is giving away 1,000 plants during their \u003ca href=\"https://www.eventbrite.com/e/black-planter-party-tickets-1223605359569?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">Black Planter Party\u003c/a> at the Hella Bees event space on Harrison Street in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13972004\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40%E2%80%AFAM-800x1014.png\" alt=\"\" width=\"800\" height=\"1014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-800x1014.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-1020x1293.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-768x974.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-1211x1536.png 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM.png 1232w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young man in a Black Panther comic shirt poses in a wicker chair, paying homage of Black Panther Party co-founder Dr. Huey P. Newton, while surrounded by plants. \u003ccite>(Janay Masters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janay Masters, founder of \u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/hellaplantsmarket/\" target=\"_blank\" rel=\"noopener\">Hella Plants Market\u003c/a>, says the event is about creating space for plant lovers and simultaneously inviting newcomers into the fold.\u003c/p>\n\u003cp>Masters, who founded the Oakland-based international pop-up plant market in May of 2021, says above all, she wants to make sure Black folks are connected to plant life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>African Americans and plants have a long history, says Masters. “Our grandmas, they’ve \u003cem>been\u003c/em> loving plants, even if we didn’t realize it,” Masters tells me on a phone call.\u003c/p>\n\u003cp>A firm believer in the healing powers of plants’ aesthetics, as well as the medicinal benefits of being plant-based, Masters says some plants are decorative and others are for spiritual reasons. “And there are certain plants,” says Masters, “we use to protect ourselves.”\u003c/p>\n\u003cp>Her journey into botany began as a respite from her former gig as a conductor on the Union Pacific Railroad. She started outside first, dabbling in gardening. Then she got into indoor plants.\u003c/p>\n\u003cp>“And that got out of hand,” Masters admits. “I ended up with over 100 houseplants.”\u003c/p>\n\u003cp>A \u003ca href=\"https://en.wikipedia.org/wiki/Monstera_deliciosa\">monstera deliciosa\u003c/a> was Masters’ first plant; it’s one that she still holds dear. But she’s quick to say that she doesn’t have a favorite plant.\u003c/p>\n\u003cp>“A parent isn’t going to pick their favorite kid, I wouldn’t pick a favorite plant. That feels wrong,” says Masters. “I love them all equally,” she says, adding “some of them are just harder to take care of others.”\u003c/p>\n\u003cfigure id=\"attachment_13972006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31%E2%80%AFAM-800x1027.png\" alt=\"\" width=\"800\" height=\"1027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-1020x1309.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-1197x1536.png 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM.png 1228w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of a past Hella Plants Market event leave with plants in hand. \u003ccite>(Janay Masters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To find like-minded plant lovers, Masters created Hella Plants Market, which has since held pop-up events in Oakland, Sacramento and San Jose, plus two gatherings in the West African country of Ghana.\u003c/p>\n\u003cp>For this weekend’s event in Oakland, Masters has partnered with the\u003ca href=\"https://www.instagram.com/theblackplanterparty/?hl=en\" target=\"_blank\" rel=\"noopener\"> Los Angeles-based Black Planter Party\u003c/a>, heading \u003ca href=\"https://www.instagram.com/blackplanterpartyoakland/\" target=\"_blank\" rel=\"noopener\">the collective’s Oakland chapter\u003c/a>.\u003c/p>\n\u003cp>Masters is hoping attendees come out on Saturday afternoon and enjoy the music, food and purchase some plants to “spice up their space with some greenery.” Masters says folks will inevitably come with the intention of getting a new houseplant, and leave with new plant-loving friends.\u003c/p>\n\u003cp>She adds, “There will be plants, hella plants. Everywhere.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hella Plants Market’s Black Planter Party event takes place on Saturday, Feb. 22, from 2 p.m.–7 p.m. at Hella Bees (2340 Harrison Street) in Oakland. \u003ca href=\"https://www.eventbrite.com/e/black-planter-party-tickets-1223605359569\" 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>It’s the week of Oakland’s annual Black Joy Parade, and \u003ca href=\"https://www.instagram.com/p/DGBaZKMSMVv/\" target=\"_blank\" rel=\"noopener\">the festivities have already kicked off\u003c/a>.\u003c/p>\n\u003cp>Culminating in a parade and festival on Sunday, Feb. 23, in downtown Oakland, the week-long celebration includes a Black women’s basketball museum at OakStop in Oakland and a wine festival at the Ciel Creative Space in Berkeley.\u003c/p>\n\u003cp>On Saturday Feb. 22, \u003ca href=\"https://linktr.ee/Hellaplants?fbclid=PAZXh0bgNhZW0CMTEAAab5ovCZ0fizVhBrYDDcHTbUM2vmAjtGgsAM89jjVPk1B455PbWYqbUikA8_aem_BJqix7T3EF34lhQj5MhYpA\" target=\"_blank\" rel=\"noopener\">Hella Plants Market \u003c/a>is giving away 1,000 plants during their \u003ca href=\"https://www.eventbrite.com/e/black-planter-party-tickets-1223605359569?aff=oddtdtcreator\" target=\"_blank\" rel=\"noopener\">Black Planter Party\u003c/a> at the Hella Bees event space on Harrison Street in Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13972004\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972004\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40%E2%80%AFAM-800x1014.png\" alt=\"\" width=\"800\" height=\"1014\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-800x1014.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-1020x1293.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-160x203.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-768x974.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM-1211x1536.png 1211w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.40 AM.png 1232w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A young man in a Black Panther comic shirt poses in a wicker chair, paying homage of Black Panther Party co-founder Dr. Huey P. Newton, while surrounded by plants. \u003ccite>(Janay Masters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janay Masters, founder of \u003ca style=\"color: #41a62a\" href=\"https://www.instagram.com/hellaplantsmarket/\" target=\"_blank\" rel=\"noopener\">Hella Plants Market\u003c/a>, says the event is about creating space for plant lovers and simultaneously inviting newcomers into the fold.\u003c/p>\n\u003cp>Masters, who founded the Oakland-based international pop-up plant market in May of 2021, says above all, she wants to make sure Black folks are connected to plant life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>African Americans and plants have a long history, says Masters. “Our grandmas, they’ve \u003cem>been\u003c/em> loving plants, even if we didn’t realize it,” Masters tells me on a phone call.\u003c/p>\n\u003cp>A firm believer in the healing powers of plants’ aesthetics, as well as the medicinal benefits of being plant-based, Masters says some plants are decorative and others are for spiritual reasons. “And there are certain plants,” says Masters, “we use to protect ourselves.”\u003c/p>\n\u003cp>Her journey into botany began as a respite from her former gig as a conductor on the Union Pacific Railroad. She started outside first, dabbling in gardening. Then she got into indoor plants.\u003c/p>\n\u003cp>“And that got out of hand,” Masters admits. “I ended up with over 100 houseplants.”\u003c/p>\n\u003cp>A \u003ca href=\"https://en.wikipedia.org/wiki/Monstera_deliciosa\">monstera deliciosa\u003c/a> was Masters’ first plant; it’s one that she still holds dear. But she’s quick to say that she doesn’t have a favorite plant.\u003c/p>\n\u003cp>“A parent isn’t going to pick their favorite kid, I wouldn’t pick a favorite plant. That feels wrong,” says Masters. “I love them all equally,” she says, adding “some of them are just harder to take care of others.”\u003c/p>\n\u003cfigure id=\"attachment_13972006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13972006\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31%E2%80%AFAM-800x1027.png\" alt=\"\" width=\"800\" height=\"1027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-1020x1309.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM-1197x1536.png 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Screenshot-2025-02-18-at-11.16.31 AM.png 1228w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Attendees of a past Hella Plants Market event leave with plants in hand. \u003ccite>(Janay Masters)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To find like-minded plant lovers, Masters created Hella Plants Market, which has since held pop-up events in Oakland, Sacramento and San Jose, plus two gatherings in the West African country of Ghana.\u003c/p>\n\u003cp>For this weekend’s event in Oakland, Masters has partnered with the\u003ca href=\"https://www.instagram.com/theblackplanterparty/?hl=en\" target=\"_blank\" rel=\"noopener\"> Los Angeles-based Black Planter Party\u003c/a>, heading \u003ca href=\"https://www.instagram.com/blackplanterpartyoakland/\" target=\"_blank\" rel=\"noopener\">the collective’s Oakland chapter\u003c/a>.\u003c/p>\n\u003cp>Masters is hoping attendees come out on Saturday afternoon and enjoy the music, food and purchase some plants to “spice up their space with some greenery.” Masters says folks will inevitably come with the intention of getting a new houseplant, and leave with new plant-loving friends.\u003c/p>\n\u003cp>She adds, “There will be plants, hella plants. Everywhere.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hella Plants Market’s Black Planter Party event takes place on Saturday, Feb. 22, from 2 p.m.–7 p.m. at Hella Bees (2340 Harrison Street) in Oakland. \u003ca href=\"https://www.eventbrite.com/e/black-planter-party-tickets-1223605359569\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "quentin-thomas-oakland-basketball",
"title": "Coach Quentin Thomas Embodies the Spirit of Oakland Basketball",
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"headTitle": "Coach Quentin Thomas Embodies the Spirit of Oakland Basketball | KQED",
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"content": "\u003cp>What a lot of people coming to the Bay Area for the NBA All-Star game don’t understand is how, out here, basketball runs so much deeper than one celebratory weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\">Here, the sport is more than a game. Basketball is the foundation of a community, a society onto itself. There’s a popular saying: “Ball is life.” But to many players here, basketball ascends into the spiritual realm. Hoops are holy.\u003c/p>\n\u003cp>One of those players is Quentin Thomas, who played on the 2005 NCAA Men’s National Championship winning team at the University of North Carolina.\u003c/p>\n\u003cp>I recently caught up with Thomas at the College of Alameda, where he’s now an assistant coach, about being one of the winningest players in UNC history, the ups-and-downs of his rap career and how he’s dealt with a life-altering condition.\u003c/p>\n\u003cfigure id=\"attachment_13971880\" class=\"wp-caption aligncenter\" style=\"max-width: 1590px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_.jpg\" alt=\"\" width=\"1590\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_.jpg 1590w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-1536x1010.jpg 1536w\" sizes=\"auto, (max-width: 1590px) 100vw, 1590px\">\u003cfigcaption class=\"wp-caption-text\">Jalen Scott, left, shoots hoops with coach Quentin Thomas at College of Alameda. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Learned the Game By Ourselves’\u003c/h2>\n\u003cp>When I pause outside the gym at College of Alameda during hoop practice, I hear a booming voice coming from inside the building — clearly, the voice of the team’s head coach, basketball hall of famer Gary Payton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Soon, the doors open, the team scatters, and there’s Thomas, at the far end of the gym, rebounding as a player named Jalen Scott gets in a few jump shots.\u003c/p>\n\u003cp>As he settles into a folding chair on the sideline, Thomas recalls his earliest memory of playing basketball: with his father at the YMCA in downtown Oakland.\u003c/p>\n\u003cp>[aside postID='arts_13969956']From there, life has been a blur of hoop games and tournaments.\u003c/p>\n\u003cp>As a kid he played at recreation centers, most of them in East Oakland: Brookfield, Rainbow, the East Oakland Youth Development Center. He balled in Oakland’s Police Athletic League, played in the Oakland Neighborhood Basketball League, and even got busy on courts across town at North Oakland’s Bushrod Park.\u003c/p>\n\u003cp>“I learned so much just being around the rec centers,” Thomas tells me. The games at those centers, he says, were baptisms by fire.\u003c/p>\n\u003cp>“We didn’t have trainers,” he says. “We learned the game by ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13971872\" class=\"wp-caption aligncenter\" style=\"max-width: 1389px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech.jpg\" alt=\"\" width=\"1389\" height=\"1833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-1020x1346.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-768x1013.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-1164x1536.jpg 1164w\" sizes=\"auto, (max-width: 1389px) 100vw, 1389px\">\u003cfigcaption class=\"wp-caption-text\">Playing for Oakland Tech, Quentin Thomas positions for a rebound against Fremont High during a semifinal on March 2, 2004 in Oakland. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teen, Thomas would go to rec centers for hours at a time, meet someone new, take notes on how they played — and eventually adopt some of their moves. He adds that the \u003ca href=\"https://www.youtube.com/watch?v=ybU9Q_SkeVI\" target=\"_blank\" rel=\"noopener\">\u003cem>And1 Mixtapes\u003c/em>\u003c/a> DVD series also dropped when he was in middle school. “That was heaven,” Thomas says with a laugh.\u003c/p>\n\u003cp>A traditional “pass-first” point guard, Thomas didn’t choose the position so much as his personality dictated it. “I love to see people score, I love to see people win,” he says. “It never really was about me.”\u003c/p>\n\u003cp>While coming up, he took notes from star guards known for getting their own shot, as well as dishing the rock. He studied guards like Oakland’s Gary Payton and Jason Kidd, and footage that his dad showed him of Isiah Thomas and Magic Johnson.\u003c/p>\n\u003cp>“Now with these kids,” says the 38-year-old Thomas, “it’s Steph, it’s Trae, it’s Dame; it’s the three-ball.”\u003c/p>\n\u003ch2>Leaving the Town for North Carolina\u003c/h2>\n\u003cp>When Thomas walked on campus at Oakland Tech as a freshman in 2000, he was surrounded by big names on and off the hoop court. Former NFL star Marshawn Lynch was Thomas’ high school classmate. On the court, starting all four years, he overlapped with future NCAA standout Armondo “Mondo” Surratt.\u003c/p>\n\u003cp>But the center of attention was future NBA champion Leon Powe.\u003c/p>\n\u003cp>“When I was a freshman, we’d have six or seven scouts at our practice,” says Thomas, crediting Powe’s success with opening the door for others at Oakland Tech.\u003c/p>\n\u003cfigure id=\"attachment_13971867\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs.jpg\" alt=\"\" width=\"576\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs-160x186.jpg 160w\" sizes=\"auto, (max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Tech men’s basketball team at the Henry J. Kaiser Auditorium in Oakland, after beating McClymonds High School. Quentin Thomas, in his senior year, sits front row, second from right. \u003ccite>(Courtesy Quentin Thomas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roy Williams, then head coach of the men’s basketball team at the University of Kansas, began to take note of the wiry guard from East Oakland. By Thomas’ senior year, coach Williams had left Kansas to return to the legendary basketball program at the University of North Carolina. “And then he called me,” says Thomas, surprised that the coach was still interested in him.\u003c/p>\n\u003cp>“I didn’t go out there because of Roy,” Thomas admits. “Carolina wasn’t even on my list.”\u003c/p>\n\u003cp>[aside postID='arts_13971779']Thomas wasn’t even thinking about pursuing a career in the NBA. His future priorities broadly involved supporting his family, seeing the world and putting “smiles on people’s faces.” But he wasn’t going to turn down a chance to play at one of the most storied basketball programs in the world.\u003c/p>\n\u003cp>“And during that time,” Thomas says, reflecting on the state of the Town in the early 2000s, “we had like 100 homicides this year, 105 the next year.” He recalls how his games would be packed, but they had to be held at 3:45 p.m. instead of at night for safety reasons.\u003c/p>\n\u003cp>Thomas, who at one point during high school changed his jersey number to honor a friend who’d been shot, says, “I just wanted to get as far away as possible.”\u003c/p>\n\u003cfigure id=\"attachment_13971873\" class=\"wp-caption aligncenter\" style=\"max-width: 1415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_.jpg\" alt=\"\" width=\"1415\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-800x1145.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-1020x1460.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-768x1100.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-1073x1536.jpg 1073w\" sizes=\"auto, (max-width: 1415px) 100vw, 1415px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas shoots during a North Carolina Tarheels 83-66 victory over the University of California Santa Barbara in the Dean Smith Center in Chapel Hill, NC. \u003ccite>(Peyton Williams/Icon Sport Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Off the Court and On the Mic\u003c/h2>\n\u003cp>During Thomas’ first year at UNC he played on a team with future NBA players Sean May, Raymond Felton, Marvin Williams and Rashad McCants. That spring, in 2005, the team won a national championship.\u003c/p>\n\u003cp>Ahead of the title game, having grown up watching rap videos on The Box, Thomas freestyled for the entire bus ride from the airport to the hotel. Think the classic \u003ca href=\"https://www.youtube.com/watch?v=c3qMXrEjwe4\" target=\"_blank\" rel=\"noopener\">2006 Malcolm Kelly post-game locker room freestyle\u003c/a>, but unfortunately without anyone filming.\u003c/p>\n\u003cp>Still, he fully credits his teammates at UNC for pushing him to pursue a rap career.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eHwYhnMrDGQ\u003c/p>\n\u003cp>“The year I graduated I met \u003ca href=\"https://www.instagram.com/9thwonder/?hl=en\" target=\"_blank\" rel=\"noopener\">9th Wonder\u003c/a>,” says Thomas. He’d spend roughly a decade on the super producer’s independent label, \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener\">Jamla Records\u003c/a>.\u003c/p>\n\u003cp>The experience led to Thomas, who raps under the name GQ, releasing a number of projects, including the 2019 mixtape \u003cem>E 14th: The Town Mix\u003c/em>. He worked with labelmates Rapsody and Reuben Vincent, and appeared alongside David Banner on the soundtrack of \u003ca href=\"https://www.youtube.com/watch?v=hnJLTt1uZtk\" target=\"_blank\" rel=\"noopener\">\u003cem>NBA Live 2010\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As his music was blossoming, though, hoops continued to call him. Even if he didn’t want to answer, the message was coming from a source too close to deny.\u003c/p>\n\u003cp>Thomas’ then-roommate and former teammate, Michael Copeland, invited him to work with some local hoopers of all ages. “I’m like ‘fuck no, bro, I’m cool,’” Thomas replied.\u003c/p>\n\u003cp>His reluctant façade quickly fell, though. And after a week at the gym, “I’m like bruh, I love this shit.” Thomas says. “That was probably God too, using [Copeland]. Because if it was coming from somebody else, I probably would have been like, nah. But this is my teammate, my brother, someone I trust.”\u003c/p>\n\u003cfigure id=\"attachment_13971874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead.jpg\" alt=\"\" width=\"2000\" height=\"1377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1920x1322.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas puts a shot up against the North Carolina State Wolfpack on February 20, 2008 in Raleigh, North Carolina. \u003ccite>(Kevin C. Cox/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life-Changing Diagnosis\u003c/h2>\n\u003cp>Around the same time, Thomas’ world flipped. Stomach pains, deep cramps and bowel issues began plaguing him in 2009.\u003c/p>\n\u003cp>By 2012, he was diagnosed with ulcerative colitis, a painful condition with no cure.\u003c/p>\n\u003cp>After his diagnosis, Thomas lived between Oakland and North Carolina, even spending a stint in Las Vegas on the coaching staff for state champ runner-ups Silverado High School.\u003c/p>\n\u003cp>But while there, his condition took a turn. In 2023, he lost a drastic amount of weight. He made the hard choice to move back to Oakland permanently.\u003c/p>\n\u003cp>[aside postID='arts_13971354']“I always felt like a failure coming back home,” says Thomas, rueing the impression of moving backwards in life. “I told myself, ‘When I leave here, I won’t come back here ’till I’m right, whether it’s financially or I got my family, I got my career, everything.’”\u003c/p>\n\u003cp>But the move back proved fruitful. He began infusions to manage his colitis. During his trips to the hospital, he’d see people battling ailments and conditions of all kinds, many worse than his. “It just made me appreciate simple stuff,” Thomas tells me.\u003c/p>\n\u003cp>With a newfound gratitude, “I started getting better,” says Thomas. “I started getting stronger, and started becoming Quentin again.”\u003c/p>\n\u003cfigure id=\"attachment_13971875\" class=\"wp-caption aligncenter\" style=\"max-width: 482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_.jpg\" alt=\"\" width=\"482\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_.jpg 482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_-160x213.jpg 160w\" sizes=\"auto, (max-width: 482px) 100vw, 482px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas and the team in the gym at College of Alameda. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He Prays for Us’\u003c/h2>\n\u003cp>Not long after, he got a call from College of Alameda assistant coach Sam Moses, who put him in contact with head coach Gary Payton. Thomas and Payton had been around each other before, not because of hoops, but church.\u003c/p>\n\u003cp>“My mom is from West Oakland, she grew up at Saint John Church,” says Thomas, noting how small the Town is. “That’s where most of the Payton family grew up, too.”\u003c/p>\n\u003cp>The first thing coach Payton told Thomas when he joined the team was “just be you.”\u003c/p>\n\u003cp>[aside postID='arts_13956839']Thomas, the youngest on the staff, a man with a naturally mild-mannered demeanor, has a style that’s the complete opposite of coach Payton’s.\u003c/p>\n\u003cp>“GP is gonna yell at you,” says Thomas of the head coach. “He gon’ cuss you out, because that’s what made him great. That’s how he was taught, that’s how he was raised, that’s what brought the best out of him.” Conversely, Thomas says, “For me, I’ve never been that way. Even when I played, I wasn’t the rah-rah type.”\u003c/p>\n\u003cp>As such, he often serves as a bridge between coach Payton and the student-athletes.\u003c/p>\n\u003cp>“It’s tough on them,” Thomas says, referring to the players’ ability to deal with harsh criticism. “It’s tough on GP too,” he adds. “Because he’s not used to having to cater to feelings.”\u003c/p>\n\u003caside class=\"pullquote alignright\">“He looks at all dimensions of brotherhood … he realigns players with their purpose when they’re derailed by tones, emotions and feelings.” \u003ccite>Isaiah Hill on Quentin Thomas\u003c/cite>\u003c/aside>\n\u003cp>Thomas’ role for the team is illustrated by player \u003ca href=\"https://www.instagram.com/7aycash/?hl=en\" target=\"_blank\" rel=\"noopener\">Isaiah Hill\u003c/a>, who I also talk with during my visit to Alameda.\u003c/p>\n\u003cp>A 6’2” guard from New Jersey and the nephew of R&B singer Lauryn Hill, Isaiah Hill is a star on and off the court. The night before, I’d watched him ball out, scoring a team-high 24 points in a victory over Solano Community College. In 2021, he played a lead role in the Kevin Durant-inspired basketball series \u003cem>\u003ca href=\"https://www.npr.org/2021/10/30/1050782644/swagger-follows-a-young-basketball-prodigy-inspired-by-kevin-durants-life-story\">Swagger\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“He looks at all dimensions of brotherhood,” says Hill of coach Quentin, explaining that the coach’s commitment goes beyond the game. Hill calls Thomas a “brother-slash-coach,” explaining that he “realigns players with their purpose when they’re derailed by tones, emotions and feelings.”\u003c/p>\n\u003cp>And then Hill tells me something that catches my attention.\u003c/p>\n\u003cp>“He prays for us,” Hill says of coach Thomas. He also connects with student athletes daily, shaking their hands.\u003c/p>\n\u003cp>“It makes the path feel more in alignment with the divine, in a way,” Hill says.\u003c/p>\n\u003cfigure id=\"attachment_13971736\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361.jpg\" alt=\"A man in a blue short sleeved-hooded sweatshirt sitting in a chair on a basketball court inside a gym.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas at the College of Alameda gymnasium. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Joining a Historic Legacy\u003c/h2>\n\u003cp>Alameda is having a great season. They’ve had some big wins, and learned valuable lessons. Thomas is thankful for the mentors on the bench with him, in his broader community and even in the form of his younger sister.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ateezzy/\" target=\"_blank\" rel=\"noopener\">Asha Thomas\u003c/a>, former star basketball player at UC Berkeley and women’s basketball all-time three-point leader, is currently an assistant coach at Sacramento State. She’s 11 years younger than Quentin, but “she’s the person I go to for advice,” Thomas says. (After the win against Solano Community College, Quentin and Asha FaceTimed for an hour.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S2gdk5jV9Uc&t=63s\u003c/p>\n\u003cp>Now, as a young coach with potential for growth, and a musician with more work on the way, “I have a village that supports me,” says Thomas.\u003c/p>\n\u003cp>When asked to describe Oakland’s basketball legacy, he candidly replies, “Unique. Profound. Historical.” And since he and Bill Russell are the only ones from Oakland to ever win a national championship, he’s a pretty big part of that legacy.\u003c/p>\n\u003cp>And at the same time, he’s just another human answering the call to use the resources he’s been given — and in Oakland, when you’re given the ability to ball, you give it your all.\u003c/p>\n\u003cp>“When I start talking about God, people think I don’t do nothing bad. Man, I’m a normal person,” Thomas says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Did I make mistakes? Yeah,” he adds, reflectively. “But I know who runs my life.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What a lot of people coming to the Bay Area for the NBA All-Star game don’t understand is how, out here, basketball runs so much deeper than one celebratory weekend.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13833985\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg\" alt=\"\" width=\"180\" height=\"207\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\">Here, the sport is more than a game. Basketball is the foundation of a community, a society onto itself. There’s a popular saying: “Ball is life.” But to many players here, basketball ascends into the spiritual realm. Hoops are holy.\u003c/p>\n\u003cp>One of those players is Quentin Thomas, who played on the 2005 NCAA Men’s National Championship winning team at the University of North Carolina.\u003c/p>\n\u003cp>I recently caught up with Thomas at the College of Alameda, where he’s now an assistant coach, about being one of the winningest players in UNC history, the ups-and-downs of his rap career and how he’s dealt with a life-altering condition.\u003c/p>\n\u003cfigure id=\"attachment_13971880\" class=\"wp-caption aligncenter\" style=\"max-width: 1590px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971880\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_.jpg\" alt=\"\" width=\"1590\" height=\"1045\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_.jpg 1590w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-1020x670.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/quentin.jalen_-1536x1010.jpg 1536w\" sizes=\"auto, (max-width: 1590px) 100vw, 1590px\">\u003cfigcaption class=\"wp-caption-text\">Jalen Scott, left, shoots hoops with coach Quentin Thomas at College of Alameda. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘We Learned the Game By Ourselves’\u003c/h2>\n\u003cp>When I pause outside the gym at College of Alameda during hoop practice, I hear a booming voice coming from inside the building — clearly, the voice of the team’s head coach, basketball hall of famer Gary Payton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Soon, the doors open, the team scatters, and there’s Thomas, at the far end of the gym, rebounding as a player named Jalen Scott gets in a few jump shots.\u003c/p>\n\u003cp>As he settles into a folding chair on the sideline, Thomas recalls his earliest memory of playing basketball: with his father at the YMCA in downtown Oakland.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From there, life has been a blur of hoop games and tournaments.\u003c/p>\n\u003cp>As a kid he played at recreation centers, most of them in East Oakland: Brookfield, Rainbow, the East Oakland Youth Development Center. He balled in Oakland’s Police Athletic League, played in the Oakland Neighborhood Basketball League, and even got busy on courts across town at North Oakland’s Bushrod Park.\u003c/p>\n\u003cp>“I learned so much just being around the rec centers,” Thomas tells me. The games at those centers, he says, were baptisms by fire.\u003c/p>\n\u003cp>“We didn’t have trainers,” he says. “We learned the game by ourselves.”\u003c/p>\n\u003cfigure id=\"attachment_13971872\" class=\"wp-caption aligncenter\" style=\"max-width: 1389px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971872\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech.jpg\" alt=\"\" width=\"1389\" height=\"1833\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech.jpg 1389w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-800x1056.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-1020x1346.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-160x211.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-768x1013.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/QuentinThomas.OaklandTech-1164x1536.jpg 1164w\" sizes=\"auto, (max-width: 1389px) 100vw, 1389px\">\u003cfigcaption class=\"wp-caption-text\">Playing for Oakland Tech, Quentin Thomas positions for a rebound against Fremont High during a semifinal on March 2, 2004 in Oakland. \u003ccite>(Michael Macor/The San Francisco Chronicle via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As a teen, Thomas would go to rec centers for hours at a time, meet someone new, take notes on how they played — and eventually adopt some of their moves. He adds that the \u003ca href=\"https://www.youtube.com/watch?v=ybU9Q_SkeVI\" target=\"_blank\" rel=\"noopener\">\u003cem>And1 Mixtapes\u003c/em>\u003c/a> DVD series also dropped when he was in middle school. “That was heaven,” Thomas says with a laugh.\u003c/p>\n\u003cp>A traditional “pass-first” point guard, Thomas didn’t choose the position so much as his personality dictated it. “I love to see people score, I love to see people win,” he says. “It never really was about me.”\u003c/p>\n\u003cp>While coming up, he took notes from star guards known for getting their own shot, as well as dishing the rock. He studied guards like Oakland’s Gary Payton and Jason Kidd, and footage that his dad showed him of Isiah Thomas and Magic Johnson.\u003c/p>\n\u003cp>“Now with these kids,” says the 38-year-old Thomas, “it’s Steph, it’s Trae, it’s Dame; it’s the three-ball.”\u003c/p>\n\u003ch2>Leaving the Town for North Carolina\u003c/h2>\n\u003cp>When Thomas walked on campus at Oakland Tech as a freshman in 2000, he was surrounded by big names on and off the hoop court. Former NFL star Marshawn Lynch was Thomas’ high school classmate. On the court, starting all four years, he overlapped with future NCAA standout Armondo “Mondo” Surratt.\u003c/p>\n\u003cp>But the center of attention was future NBA champion Leon Powe.\u003c/p>\n\u003cp>“When I was a freshman, we’d have six or seven scouts at our practice,” says Thomas, crediting Powe’s success with opening the door for others at Oakland Tech.\u003c/p>\n\u003cfigure id=\"attachment_13971867\" class=\"wp-caption aligncenter\" style=\"max-width: 576px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971867\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs.jpg\" alt=\"\" width=\"576\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs.jpg 576w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/OaklandTechBulldogs-160x186.jpg 160w\" sizes=\"auto, (max-width: 576px) 100vw, 576px\">\u003cfigcaption class=\"wp-caption-text\">The Oakland Tech men’s basketball team at the Henry J. Kaiser Auditorium in Oakland, after beating McClymonds High School. Quentin Thomas, in his senior year, sits front row, second from right. \u003ccite>(Courtesy Quentin Thomas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Roy Williams, then head coach of the men’s basketball team at the University of Kansas, began to take note of the wiry guard from East Oakland. By Thomas’ senior year, coach Williams had left Kansas to return to the legendary basketball program at the University of North Carolina. “And then he called me,” says Thomas, surprised that the coach was still interested in him.\u003c/p>\n\u003cp>“I didn’t go out there because of Roy,” Thomas admits. “Carolina wasn’t even on my list.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thomas wasn’t even thinking about pursuing a career in the NBA. His future priorities broadly involved supporting his family, seeing the world and putting “smiles on people’s faces.” But he wasn’t going to turn down a chance to play at one of the most storied basketball programs in the world.\u003c/p>\n\u003cp>“And during that time,” Thomas says, reflecting on the state of the Town in the early 2000s, “we had like 100 homicides this year, 105 the next year.” He recalls how his games would be packed, but they had to be held at 3:45 p.m. instead of at night for safety reasons.\u003c/p>\n\u003cp>Thomas, who at one point during high school changed his jersey number to honor a friend who’d been shot, says, “I just wanted to get as far away as possible.”\u003c/p>\n\u003cfigure id=\"attachment_13971873\" class=\"wp-caption aligncenter\" style=\"max-width: 1415px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971873\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_.jpg\" alt=\"\" width=\"1415\" height=\"2026\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_.jpg 1415w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-800x1145.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-1020x1460.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-768x1100.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.NC_-1073x1536.jpg 1073w\" sizes=\"auto, (max-width: 1415px) 100vw, 1415px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas shoots during a North Carolina Tarheels 83-66 victory over the University of California Santa Barbara in the Dean Smith Center in Chapel Hill, NC. \u003ccite>(Peyton Williams/Icon Sport Media via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Off the Court and On the Mic\u003c/h2>\n\u003cp>During Thomas’ first year at UNC he played on a team with future NBA players Sean May, Raymond Felton, Marvin Williams and Rashad McCants. That spring, in 2005, the team won a national championship.\u003c/p>\n\u003cp>Ahead of the title game, having grown up watching rap videos on The Box, Thomas freestyled for the entire bus ride from the airport to the hotel. Think the classic \u003ca href=\"https://www.youtube.com/watch?v=c3qMXrEjwe4\" target=\"_blank\" rel=\"noopener\">2006 Malcolm Kelly post-game locker room freestyle\u003c/a>, but unfortunately without anyone filming.\u003c/p>\n\u003cp>Still, he fully credits his teammates at UNC for pushing him to pursue a rap career.\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/eHwYhnMrDGQ'\n title='//www.youtube.com/embed/eHwYhnMrDGQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The year I graduated I met \u003ca href=\"https://www.instagram.com/9thwonder/?hl=en\" target=\"_blank\" rel=\"noopener\">9th Wonder\u003c/a>,” says Thomas. He’d spend roughly a decade on the super producer’s independent label, \u003ca href=\"https://www.jamlarecords.com/\" target=\"_blank\" rel=\"noopener\">Jamla Records\u003c/a>.\u003c/p>\n\u003cp>The experience led to Thomas, who raps under the name GQ, releasing a number of projects, including the 2019 mixtape \u003cem>E 14th: The Town Mix\u003c/em>. He worked with labelmates Rapsody and Reuben Vincent, and appeared alongside David Banner on the soundtrack of \u003ca href=\"https://www.youtube.com/watch?v=hnJLTt1uZtk\" target=\"_blank\" rel=\"noopener\">\u003cem>NBA Live 2010\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>As his music was blossoming, though, hoops continued to call him. Even if he didn’t want to answer, the message was coming from a source too close to deny.\u003c/p>\n\u003cp>Thomas’ then-roommate and former teammate, Michael Copeland, invited him to work with some local hoopers of all ages. “I’m like ‘fuck no, bro, I’m cool,’” Thomas replied.\u003c/p>\n\u003cp>His reluctant façade quickly fell, though. And after a week at the gym, “I’m like bruh, I love this shit.” Thomas says. “That was probably God too, using [Copeland]. Because if it was coming from somebody else, I probably would have been like, nah. But this is my teammate, my brother, someone I trust.”\u003c/p>\n\u003cfigure id=\"attachment_13971874\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971874\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead.jpg\" alt=\"\" width=\"2000\" height=\"1377\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-800x551.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1020x702.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-768x529.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1536x1058.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.overhead-1920x1322.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas puts a shot up against the North Carolina State Wolfpack on February 20, 2008 in Raleigh, North Carolina. \u003ccite>(Kevin C. Cox/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Life-Changing Diagnosis\u003c/h2>\n\u003cp>Around the same time, Thomas’ world flipped. Stomach pains, deep cramps and bowel issues began plaguing him in 2009.\u003c/p>\n\u003cp>By 2012, he was diagnosed with ulcerative colitis, a painful condition with no cure.\u003c/p>\n\u003cp>After his diagnosis, Thomas lived between Oakland and North Carolina, even spending a stint in Las Vegas on the coaching staff for state champ runner-ups Silverado High School.\u003c/p>\n\u003cp>But while there, his condition took a turn. In 2023, he lost a drastic amount of weight. He made the hard choice to move back to Oakland permanently.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I always felt like a failure coming back home,” says Thomas, rueing the impression of moving backwards in life. “I told myself, ‘When I leave here, I won’t come back here ’till I’m right, whether it’s financially or I got my family, I got my career, everything.’”\u003c/p>\n\u003cp>But the move back proved fruitful. He began infusions to manage his colitis. During his trips to the hospital, he’d see people battling ailments and conditions of all kinds, many worse than his. “It just made me appreciate simple stuff,” Thomas tells me.\u003c/p>\n\u003cp>With a newfound gratitude, “I started getting better,” says Thomas. “I started getting stronger, and started becoming Quentin again.”\u003c/p>\n\u003cfigure id=\"attachment_13971875\" class=\"wp-caption aligncenter\" style=\"max-width: 482px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971875\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_.jpg\" alt=\"\" width=\"482\" height=\"641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_.jpg 482w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Quentin.alameda.team_-160x213.jpg 160w\" sizes=\"auto, (max-width: 482px) 100vw, 482px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas and the team in the gym at College of Alameda. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘He Prays for Us’\u003c/h2>\n\u003cp>Not long after, he got a call from College of Alameda assistant coach Sam Moses, who put him in contact with head coach Gary Payton. Thomas and Payton had been around each other before, not because of hoops, but church.\u003c/p>\n\u003cp>“My mom is from West Oakland, she grew up at Saint John Church,” says Thomas, noting how small the Town is. “That’s where most of the Payton family grew up, too.”\u003c/p>\n\u003cp>The first thing coach Payton told Thomas when he joined the team was “just be you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Thomas, the youngest on the staff, a man with a naturally mild-mannered demeanor, has a style that’s the complete opposite of coach Payton’s.\u003c/p>\n\u003cp>“GP is gonna yell at you,” says Thomas of the head coach. “He gon’ cuss you out, because that’s what made him great. That’s how he was taught, that’s how he was raised, that’s what brought the best out of him.” Conversely, Thomas says, “For me, I’ve never been that way. Even when I played, I wasn’t the rah-rah type.”\u003c/p>\n\u003cp>As such, he often serves as a bridge between coach Payton and the student-athletes.\u003c/p>\n\u003cp>“It’s tough on them,” Thomas says, referring to the players’ ability to deal with harsh criticism. “It’s tough on GP too,” he adds. “Because he’s not used to having to cater to feelings.”\u003c/p>\n\u003caside class=\"pullquote alignright\">“He looks at all dimensions of brotherhood … he realigns players with their purpose when they’re derailed by tones, emotions and feelings.” \u003ccite>Isaiah Hill on Quentin Thomas\u003c/cite>\u003c/aside>\n\u003cp>Thomas’ role for the team is illustrated by player \u003ca href=\"https://www.instagram.com/7aycash/?hl=en\" target=\"_blank\" rel=\"noopener\">Isaiah Hill\u003c/a>, who I also talk with during my visit to Alameda.\u003c/p>\n\u003cp>A 6’2” guard from New Jersey and the nephew of R&B singer Lauryn Hill, Isaiah Hill is a star on and off the court. The night before, I’d watched him ball out, scoring a team-high 24 points in a victory over Solano Community College. In 2021, he played a lead role in the Kevin Durant-inspired basketball series \u003cem>\u003ca href=\"https://www.npr.org/2021/10/30/1050782644/swagger-follows-a-young-basketball-prodigy-inspired-by-kevin-durants-life-story\">Swagger\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>“He looks at all dimensions of brotherhood,” says Hill of coach Quentin, explaining that the coach’s commitment goes beyond the game. Hill calls Thomas a “brother-slash-coach,” explaining that he “realigns players with their purpose when they’re derailed by tones, emotions and feelings.”\u003c/p>\n\u003cp>And then Hill tells me something that catches my attention.\u003c/p>\n\u003cp>“He prays for us,” Hill says of coach Thomas. He also connects with student athletes daily, shaking their hands.\u003c/p>\n\u003cp>“It makes the path feel more in alignment with the divine, in a way,” Hill says.\u003c/p>\n\u003cfigure id=\"attachment_13971736\" class=\"wp-caption aligncenter\" style=\"max-width: 1616px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971736\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361.jpg\" alt=\"A man in a blue short sleeved-hooded sweatshirt sitting in a chair on a basketball court inside a gym.\" width=\"1616\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361.jpg 1616w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/dsc09361-1536x1027.jpg 1536w\" sizes=\"auto, (max-width: 1616px) 100vw, 1616px\">\u003cfigcaption class=\"wp-caption-text\">Quentin Thomas at the College of Alameda gymnasium. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Joining a Historic Legacy\u003c/h2>\n\u003cp>Alameda is having a great season. They’ve had some big wins, and learned valuable lessons. Thomas is thankful for the mentors on the bench with him, in his broader community and even in the form of his younger sister.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/ateezzy/\" target=\"_blank\" rel=\"noopener\">Asha Thomas\u003c/a>, former star basketball player at UC Berkeley and women’s basketball all-time three-point leader, is currently an assistant coach at Sacramento State. She’s 11 years younger than Quentin, but “she’s the person I go to for advice,” Thomas says. (After the win against Solano Community College, Quentin and Asha FaceTimed for an hour.)\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/S2gdk5jV9Uc'\n title='//www.youtube.com/embed/S2gdk5jV9Uc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now, as a young coach with potential for growth, and a musician with more work on the way, “I have a village that supports me,” says Thomas.\u003c/p>\n\u003cp>When asked to describe Oakland’s basketball legacy, he candidly replies, “Unique. Profound. Historical.” And since he and Bill Russell are the only ones from Oakland to ever win a national championship, he’s a pretty big part of that legacy.\u003c/p>\n\u003cp>And at the same time, he’s just another human answering the call to use the resources he’s been given — and in Oakland, when you’re given the ability to ball, you give it your all.\u003c/p>\n\u003cp>“When I start talking about God, people think I don’t do nothing bad. Man, I’m a normal person,” Thomas says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Did I make mistakes? Yeah,” he adds, reflectively. “But I know who runs my life.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13971707\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971707\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg\" alt=\"\" width=\"2000\" height=\"1333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.uncropped-1920x1280.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The stage and dance floor at Ceremony, a new 1,000-capacity music hall in downtown Oakland, as seen from the venue’s mezzanine. \u003ccite>(Courtesy of Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A new live music venue is opening next month in downtown Oakland near the corner of Broadway and 13th Street.\u003c/p>\n\u003cp>The 1,000-capacity hall, called Ceremony, will host touring acts of diverse genres — rap, R&B, punk, Latin, comedy, queer pop — alongside local acts and DJ nights.\u003c/p>\n\u003cp>The venue is owned and operated by the team behind \u003ca href=\"https://www.kqed.org/arts/13910010/crybaby-nightclub-oakland-opening-uptown\">Crybaby\u003c/a>, a smaller nightclub located several blocks away.[aside postID='arts_13971466']\u003c/p>\n\u003cp>While San Francisco has similarly sized music venues like the Regency Ballroom, August Hall and the Fillmore, Ceremony will be the only music hall of its size in Oakland.\u003c/p>\n\u003cp>That’s an asset owners Jesse Tittsworth and Dominic Green are banking on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As far as the booking landscape goes, “There’s a giant queue for a small handful of 1,000-capacity venues in the city. There’s nothing in the East Bay,” Tittsworth says in a recent interview about the opening.\u003c/p>\n\u003cp>Additionally, certain types of shows, Tittsworth adds, just make more sense in Oakland, where there’s a more diverse audience for Latin acts, rap artists and queer dance nights.\u003c/p>\n\u003cp>The venue’s initial lineup in March has yet to be announced. But Tittsworth says that “there’s rave stuff on there, there’s a well-known comedian on there, there’s well-known DJs on there. There’s an extremely well-known rapper in there. All this stuff is confirming as we speak.”\u003c/p>\n\u003cfigure id=\"attachment_13971713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg\" alt=\"\" width=\"2000\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1920x643.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jesse Tittsworth and Dominic Green, owners of Ceremony, established themselves in Oakland in 2022 with the nightclub Crybaby. \u003ccite>(Courtesy Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An injection of nightlife downtown\u003c/h3>\n\u003cp>Green has deep local roots — his grandfather was a mayor of Berkeley, and his father is a longtime jazz promoter. Tittsworth was a co-founder of Washington D.C.’s U Street Music Hall, an acclaimed smaller venue.\u003c/p>\n\u003cp>The pair opened the 400-capacity Crybaby in 2022 as a no-frills, no-bottle-service, no-VIP-area nightclub, a format quickly embraced by the Oakland music scene. The club has been profitable, Green and Tittsworth say.\u003c/p>\n\u003cp>[aside postID='arts_13953497']But Ceremony was, in fact, the duo’s initial plan. The two first signed a lease at 1220 Broadway six years ago, in 2019, just before the pandemic halted their plans. The building’s ownership has changed hands multiple times since.\u003c/p>\n\u003cp>After extensive renovations, including sound installation, stage construction and other build-outs, the venue is poised to bring an injection of nightlife to the downtown core.\u003c/p>\n\u003cp>With a 6,013-square-foot ground floor overlooked by a second-floor wrap-around mezzanine, the venue boasts a state-of-the-art D&B Audiotechnik sound system. Two bars on either side of the dance floor and a kitchen handle food and drinks.\u003c/p>\n\u003cp>Key to the location, Tittsworth points out, is Ceremony’s immediate proximity to the 12th Street BART station. The venue may also pursue block parties on 13th Street between Broadway and Franklin, which could accommodate between 2,500 to 6,000 people.\u003c/p>\n\u003cfigure id=\"attachment_13971685\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg\" alt=\"\" width=\"812\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-768x1185.jpg 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">An newspaper advertisement from the Oakland Post Enquirer for the grand opening of the Lux Theater, July 17, 1948.\u003c/figcaption>\u003c/figure>\n\u003ch3>A historic building\u003c/h3>\n\u003cp>The building at 1220 Broadway has a storied past. Those of a certain age will remember it as the Lux Theater, which showed movies from its glistening grand opening in 1948 to its seedier demise in 1978. More recently, from 1988 to 2019, the former theater served as a Goodwill.\u003c/p>\n\u003cp>When the Oakland City Council approved the opening of Goodwill in 1988, it required the charity organization to remove the Lux Theater’s majestic, protruding marquee from the building.\u003c/p>\n\u003cp>Green finds a certain irony in this. When he met with the city’s historic preservation department recently, he was encouraged to add a marquee, similar to the Lux Theater’s, to the building’s facade.\u003c/p>\n\u003cp>[aside postID='arts_13968285']Renovations of the building have uncovered the usual oddities, especially in the basement. An old steam boiler. A door leading to nothing but bricks. A hollowed-out section of a wall where someone once lived.\u003c/p>\n\u003cp>“Dim light, you know, the dripping pipe. It’s really like \u003cem>Saw V\u003c/em> … it can be a little spooky down there,” says Green.\u003c/p>\n\u003cp>Tittsworth, rolling with the idea, jokes that the basement could host the world’s creepiest mini-rave.\u003c/p>\n\u003cp>Another point of clarification: the two did not name the venue after the Joy Division song “Ceremony,” nor the punk band Ceremony that came roaring out of the Bay Area suburb of Rohnert Park in the early 2000s, but the literal definition of a ceremony, and what it entails.\u003c/p>\n\u003cp>“It just hits on like every culture, right? Every culture has a ceremony, of any sort,” says Green. “For us, wanting to be a place that’s welcoming to all with diverse programming, it felt like a word that encompasses every division of culture.”\u003c/p>\n\u003ch3>Filling a need\u003c/h3>\n\u003cp>One thing that’s been elusive, as a potential driver of downtown revitalization, is bankable support from the cash-strapped city of Oakland.\u003c/p>\n\u003cp>In meetings with various departments, “I hear a lot of support in these rooms, all the way from D.O.T. to OPD to fellow business owners,” says Tittsworth. “It’s just the budgets don’t match the verbal support.”\u003c/p>\n\u003cp>[aside postID='arts_13910010']Oakland has radically reviewed its operating budget in the past year, and “arts and culture has really been slashed,” adds Green. “So we’re pretty much on our own out here.”\u003c/p>\n\u003cp>However, for Ceremony’s unique size, format and location, the two have found support from what’s technically their competitors.\u003c/p>\n\u003cp>Green and Tittsworth have talked with larger live music promoters like Goldenvoice, Another Planet Entertainment and Live Nation. To hear them tell it, they see Ceremony as complementing their Bay Area bookings instead of competing.\u003c/p>\n\u003cp>“It’s really this idea of like, how do we work together to put Oakland on the map?” Tittsworth says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ceremony’s grand opening and concert schedule, \u003ca href=\"https://www.instagram.com/ceremony.oakland/\">visit the venue’s Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As far as the booking landscape goes, “There’s a giant queue for a small handful of 1,000-capacity venues in the city. There’s nothing in the East Bay,” Tittsworth says in a recent interview about the opening.\u003c/p>\n\u003cp>Additionally, certain types of shows, Tittsworth adds, just make more sense in Oakland, where there’s a more diverse audience for Latin acts, rap artists and queer dance nights.\u003c/p>\n\u003cp>The venue’s initial lineup in March has yet to be announced. But Tittsworth says that “there’s rave stuff on there, there’s a well-known comedian on there, there’s well-known DJs on there. There’s an extremely well-known rapper in there. All this stuff is confirming as we speak.”\u003c/p>\n\u003cfigure id=\"attachment_13971713\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971713\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg\" alt=\"\" width=\"2000\" height=\"670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-800x268.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1020x342.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-160x54.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-768x257.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1536x515.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/Ceremony.tittsworth.green_-1920x643.jpg 1920w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(L–R) Jesse Tittsworth and Dominic Green, owners of Ceremony, established themselves in Oakland in 2022 with the nightclub Crybaby. \u003ccite>(Courtesy Ceremony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>An injection of nightlife downtown\u003c/h3>\n\u003cp>Green has deep local roots — his grandfather was a mayor of Berkeley, and his father is a longtime jazz promoter. Tittsworth was a co-founder of Washington D.C.’s U Street Music Hall, an acclaimed smaller venue.\u003c/p>\n\u003cp>The pair opened the 400-capacity Crybaby in 2022 as a no-frills, no-bottle-service, no-VIP-area nightclub, a format quickly embraced by the Oakland music scene. The club has been profitable, Green and Tittsworth say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Ceremony was, in fact, the duo’s initial plan. The two first signed a lease at 1220 Broadway six years ago, in 2019, just before the pandemic halted their plans. The building’s ownership has changed hands multiple times since.\u003c/p>\n\u003cp>After extensive renovations, including sound installation, stage construction and other build-outs, the venue is poised to bring an injection of nightlife to the downtown core.\u003c/p>\n\u003cp>With a 6,013-square-foot ground floor overlooked by a second-floor wrap-around mezzanine, the venue boasts a state-of-the-art D&B Audiotechnik sound system. Two bars on either side of the dance floor and a kitchen handle food and drinks.\u003c/p>\n\u003cp>Key to the location, Tittsworth points out, is Ceremony’s immediate proximity to the 12th Street BART station. The venue may also pursue block parties on 13th Street between Broadway and Franklin, which could accommodate between 2,500 to 6,000 people.\u003c/p>\n\u003cfigure id=\"attachment_13971685\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13971685\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg\" alt=\"\" width=\"812\" height=\"1253\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater.jpg 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-800x1234.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-160x247.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2025/02/LuxTheater-768x1185.jpg 768w\" sizes=\"auto, (max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">An newspaper advertisement from the Oakland Post Enquirer for the grand opening of the Lux Theater, July 17, 1948.\u003c/figcaption>\u003c/figure>\n\u003ch3>A historic building\u003c/h3>\n\u003cp>The building at 1220 Broadway has a storied past. Those of a certain age will remember it as the Lux Theater, which showed movies from its glistening grand opening in 1948 to its seedier demise in 1978. More recently, from 1988 to 2019, the former theater served as a Goodwill.\u003c/p>\n\u003cp>When the Oakland City Council approved the opening of Goodwill in 1988, it required the charity organization to remove the Lux Theater’s majestic, protruding marquee from the building.\u003c/p>\n\u003cp>Green finds a certain irony in this. When he met with the city’s historic preservation department recently, he was encouraged to add a marquee, similar to the Lux Theater’s, to the building’s facade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Renovations of the building have uncovered the usual oddities, especially in the basement. An old steam boiler. A door leading to nothing but bricks. A hollowed-out section of a wall where someone once lived.\u003c/p>\n\u003cp>“Dim light, you know, the dripping pipe. It’s really like \u003cem>Saw V\u003c/em> … it can be a little spooky down there,” says Green.\u003c/p>\n\u003cp>Tittsworth, rolling with the idea, jokes that the basement could host the world’s creepiest mini-rave.\u003c/p>\n\u003cp>Another point of clarification: the two did not name the venue after the Joy Division song “Ceremony,” nor the punk band Ceremony that came roaring out of the Bay Area suburb of Rohnert Park in the early 2000s, but the literal definition of a ceremony, and what it entails.\u003c/p>\n\u003cp>“It just hits on like every culture, right? Every culture has a ceremony, of any sort,” says Green. “For us, wanting to be a place that’s welcoming to all with diverse programming, it felt like a word that encompasses every division of culture.”\u003c/p>\n\u003ch3>Filling a need\u003c/h3>\n\u003cp>One thing that’s been elusive, as a potential driver of downtown revitalization, is bankable support from the cash-strapped city of Oakland.\u003c/p>\n\u003cp>In meetings with various departments, “I hear a lot of support in these rooms, all the way from D.O.T. to OPD to fellow business owners,” says Tittsworth. “It’s just the budgets don’t match the verbal support.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oakland has radically reviewed its operating budget in the past year, and “arts and culture has really been slashed,” adds Green. “So we’re pretty much on our own out here.”\u003c/p>\n\u003cp>However, for Ceremony’s unique size, format and location, the two have found support from what’s technically their competitors.\u003c/p>\n\u003cp>Green and Tittsworth have talked with larger live music promoters like Goldenvoice, Another Planet Entertainment and Live Nation. To hear them tell it, they see Ceremony as complementing their Bay Area bookings instead of competing.\u003c/p>\n\u003cp>“It’s really this idea of like, how do we work together to put Oakland on the map?” Tittsworth says.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on Ceremony’s grand opening and concert schedule, \u003ca href=\"https://www.instagram.com/ceremony.oakland/\">visit the venue’s Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
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