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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n the title track of Too Short’s 1990 album \u003ci>Short Dog’s In the House\u003c/i>, wedged between bars about globetrotting and cold mackin’, the pioneering Oakland MC says, “I used to be local ’til I signed with Jive / Too Short done went nationwide.”\u003c/p>\n\u003cp>After a decade that started with Short \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">slanging tapes out of his trunk\u003c/a> as an independent artist, this was Short breaking into the hip-hop’s golden age of the ’90s. \u003ci>Short Dog’s In the House\u003c/i> features notable songs like “Pimpology,” one of the first of many tracks to sample lines from \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-mack-filmed-in-oakland\">the movie \u003ci>The Mack\u003c/i>, filmed in Oakland\u003c/a>. “Nothing But a Word to Me,” with Ice Cube, marks an early collaboration between major artists from Northern and Southern California. And the song “Short But Funky” is both a thinly veiled diss to MC Hammer and Too Short’s mission statement as an artist.\u003c/p>\n\u003cp>The album’s biggest single, “The Ghetto,” found Short deviating from his player persona, dropping socially conscious rhymes over a classic Donny Hathaway interpolation. The album sold over a million units and influenced generations of hip-hop heads. It’s a classic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fw0uz88E2gI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And then there’s its illustrated cover art: a group of animated human-bodied dog-faced characters cold chilling in a parking lot. Cars that look like Mercedes-Benzes, Lamborghinis and Cadillacs are parked all around, as poodle and bulldog-like characters cut eyes, point fingers and posture like folks would at any social happening. This one is clearly a sideshow.\u003c/p>\n\u003cp>While this scene unfolds in the foreground, a larger canine figure in an Oakland jacket looms near the city’s skyline, like an overseeing oracle, here to tell the world about The Town. And at the bottom left corner of the album cover, in tiny lettering, there’s a signature from the artist: Curtis “Bozie” Wayne Riley Jr.\u003c/p>\n\u003cfigure id=\"attachment_13926255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Boze.illos_.portrait-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, a sketch from Boze, typifying the sort of characters he’d often draw in high school in the Bay Area. At right, a recent portrait of Boze. \u003ccite>(Courtesy Boze Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The process of me doing the album cover, it started way before I ever met Short,” says Bozie, who now goes simply by Boze, on a recent video call. “For me, it started at The Art School.”\u003c/p>\n\u003cp>In the mid-to-late ’80s, Boze was a student at \u003ca href=\"https://www.facebook.com/groups/2234613913\" target=\"_blank\" rel=\"noopener\">The Arts Magnet School\u003c/a>, a.k.a. “The Art School,” a high school on the California College of The Arts campus. Boze, a multitalented kid from Deep East Oakland, attributes his skills to the tutelage of his artistic parents, the influence of his neighborhood, the lessons from his high school and his affinity for hip-hop.\u003c/p>\n\u003cp>At The Art School, he had an African-American instructor named Robert L. Caillier who taught college-level arts courses, didn’t take any mess and was a firm believer in students using the classroom to refine their individual voices. “We were given the green light to draw all the things that we love,” says Boze. “So we were drawing hip-hop characters.”\u003c/p>\n\u003cp>From 8th grade until 12th grade, Boze constantly practiced drawing donkey ropes, Kangol hats, Gazelle glasses, and Adidas with the fat strings. After graduation, Boze used his talents to freelance, illustrating projects for MC Ant, Tomahawk Records’ Indian Tone and a logo for East Bay rapper Spice 1.\u003c/p>\n\u003cfigure id=\"attachment_13926016\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-1268690-1219563443.jpg\" alt=\"Spice 1\" width=\"600\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-1268690-1219563443.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-1268690-1219563443-160x157.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An early single by Spice 1, with a logo drawn by Boze. \u003ccite>(Jive Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Money was slow, though, and Boze briefly considered turning to the streets. Then he got into airbrushing.\u003c/p>\n\u003cp>During that era, about three major hip-hop tours would come to town each year, and Boze would be ready. “I’d be in my grandmother’s garage airbrushing like 10-12 outfits, charging people $350 a piece,” says Boze, noting that white Guess or Levi’s jeans were a favorite. “My grandmother was getting mad because she’d see all these guys with 5.0’s, glasshouses, and K5s pulling up and coming to the house,” says Boze, imitating his grandmother’s concerned voice. “I’m in there airbrushing! I had an honest hustle.”\u003c/p>\n\u003cp>Along with visual art, Boze was a part of\u003ca href=\"https://www.discogs.com/artist/4904066-T-CAP-Productions\"> T-CAP Productions\u003c/a>’ group \u003ca href=\"https://www.discogs.com/artist/203244-Capital-Tax\" target=\"_blank\" rel=\"noopener\">Capital Tax\u003c/a>. He earned a name as a dancer, designed the logo for the crew and even did some musical production.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CAPITAL TAX- 2 TIMIN\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/skuAI7yFFJ0?start=1&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As his reputation and clientele in Deep East Oakland grew, Boze eventually made artwork for someone in Too Short’s crew. Coincidentally, Short had recorded a new album for Jive, and he needed artwork too. “They came to me,” says Boze. “Short was like, ‘I want you to do a sideshow scene, but I need it with dogs.’”\u003c/p>\n\u003cp>Short also suggested to Boze a few types of cars to draw, but told him to use his imagination with the rest. Boze is quick to mention that modern sideshows are different than the one depicted on the album cover, the way they used to be. “It was more like a car show. People brought out Falcons, Novas, Cougars, Mustangs. Trues and Vogues, Zapco boards. It was a chill situation,” says Boze. In the late 1980s, he adds, only a few people did donuts, police rarely came, and afterward, folks would hit Mexicali Rose or Denny’s.\u003c/p>\n\u003cp>[aside postID='arts_13923766']With years of preparation from art school under his belt, chronicling that era of the sideshow came easy; Boze says he knocked it out in two or three days. But the image that’s widely known — that’s the second drawing. The first one was rejected by Jive; the label needed certain specs for reproduction. “Short never gave me back the original one,” says Boze. “So either Short still has it, or someone at Jive does.”\u003c/p>\n\u003cp>The version that adorns the platinum-selling album, meanwhile, has been widely shared and impactful. Short has \u003ca href=\"https://youtu.be/sJXzYAeTk0U?t=118\" target=\"_blank\" rel=\"noopener\">gone on record\u003c/a> to mention the importance of the album cover, as have other major artists. Even Snoop Dogg seemed to have a fanboy moment when recently discussing the album art, and how it directly influenced the \u003ca href=\"https://en.wikipedia.org/wiki/Doggystyle\">cartoon-dog cover art\u003c/a> for his smash-hit album \u003cem>Doggystyle\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Snoop Dogg & Too Short Talk Music (April 07, 2020)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qnd3wBdXXDE?start=1020&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Boze tells me he’s talked to people about the \u003ci>Short Dog’s in the House\u003c/i> art all across the country: Virginia, Tennessee, Wisconsin, and even in Alabama, where he now resides. Years removed from the experience, now working as a curator of arts education for the \u003ca href=\"https://artistcommunities.org/directory/organizations/coleman-center-arts\" target=\"_blank\" rel=\"noopener\">Coleman Center of the Arts\u003c/a> in York, Alabama, Boze says he doesn’t often discuss the album — but when it does come up, people tell him how it made them feel. Not the music on the album, but the artwork itself.\u003c/p>\n\u003cp>A teenager at the time of the drawing, Boze says it’s wild to think the image could be likened to a hip-hop version of \u003ca href=\"https://www.mfah.org/exhibitions/sugar-shack#&gid=cc5054066ed84c259198418242e77992&pid=25074691\" target=\"_blank\" rel=\"noopener\">The Sugar Shack\u003c/a>, the dance-hall scene painted by Ernie Barnes, which was featured on the cover of Marvin Gaye’s \u003cem>I Want You\u003c/em> and shown the final credits of the show \u003cem>Good Times\u003c/em>.\u003c/p>\n\u003cp>While it’s debatable if the image is on that same cultural level, the numbers don’t lie. “Over a million people have seen this work, I’ve got the plaque to prove it,” says Boze with a laugh. “I’m a platinum artist.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Boze, a \"little homie from the hood,\" drew Too Short's album art — inspiring Snoop's 'Doggystyle' and creating an icon for The Town.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history, with new content dropping all throughout 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">O\u003c/span>n the title track of Too Short’s 1990 album \u003ci>Short Dog’s In the House\u003c/i>, wedged between bars about globetrotting and cold mackin’, the pioneering Oakland MC says, “I used to be local ’til I signed with Jive / Too Short done went nationwide.”\u003c/p>\n\u003cp>After a decade that started with Short \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#too-short-and-freddy-b-start-making-handmade-tapes\">slanging tapes out of his trunk\u003c/a> as an independent artist, this was Short breaking into the hip-hop’s golden age of the ’90s. \u003ci>Short Dog’s In the House\u003c/i> features notable songs like “Pimpology,” one of the first of many tracks to sample lines from \u003ca href=\"http://www.kqed.org/bayareahiphop/timeline#the-mack-filmed-in-oakland\">the movie \u003ci>The Mack\u003c/i>, filmed in Oakland\u003c/a>. “Nothing But a Word to Me,” with Ice Cube, marks an early collaboration between major artists from Northern and Southern California. And the song “Short But Funky” is both a thinly veiled diss to MC Hammer and Too Short’s mission statement as an artist.\u003c/p>\n\u003cp>The album’s biggest single, “The Ghetto,” found Short deviating from his player persona, dropping socially conscious rhymes over a classic Donny Hathaway interpolation. The album sold over a million units and influenced generations of hip-hop heads. It’s a classic.\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/fw0uz88E2gI'\n title='//www.youtube.com/embed/fw0uz88E2gI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And then there’s its illustrated cover art: a group of animated human-bodied dog-faced characters cold chilling in a parking lot. Cars that look like Mercedes-Benzes, Lamborghinis and Cadillacs are parked all around, as poodle and bulldog-like characters cut eyes, point fingers and posture like folks would at any social happening. This one is clearly a sideshow.\u003c/p>\n\u003cp>While this scene unfolds in the foreground, a larger canine figure in an Oakland jacket looms near the city’s skyline, like an overseeing oracle, here to tell the world about The Town. And at the bottom left corner of the album cover, in tiny lettering, there’s a signature from the artist: Curtis “Bozie” Wayne Riley Jr.\u003c/p>\n\u003cfigure id=\"attachment_13926255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926255\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Boze.illos_.portrait-800x539.jpg\" alt=\"\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Boze.illos_.portrait.jpg 896w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">At left, a sketch from Boze, typifying the sort of characters he’d often draw in high school in the Bay Area. At right, a recent portrait of Boze. \u003ccite>(Courtesy Boze Riley)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The process of me doing the album cover, it started way before I ever met Short,” says Bozie, who now goes simply by Boze, on a recent video call. “For me, it started at The Art School.”\u003c/p>\n\u003cp>In the mid-to-late ’80s, Boze was a student at \u003ca href=\"https://www.facebook.com/groups/2234613913\" target=\"_blank\" rel=\"noopener\">The Arts Magnet School\u003c/a>, a.k.a. “The Art School,” a high school on the California College of The Arts campus. Boze, a multitalented kid from Deep East Oakland, attributes his skills to the tutelage of his artistic parents, the influence of his neighborhood, the lessons from his high school and his affinity for hip-hop.\u003c/p>\n\u003cp>At The Art School, he had an African-American instructor named Robert L. Caillier who taught college-level arts courses, didn’t take any mess and was a firm believer in students using the classroom to refine their individual voices. “We were given the green light to draw all the things that we love,” says Boze. “So we were drawing hip-hop characters.”\u003c/p>\n\u003cp>From 8th grade until 12th grade, Boze constantly practiced drawing donkey ropes, Kangol hats, Gazelle glasses, and Adidas with the fat strings. After graduation, Boze used his talents to freelance, illustrating projects for MC Ant, Tomahawk Records’ Indian Tone and a logo for East Bay rapper Spice 1.\u003c/p>\n\u003cfigure id=\"attachment_13926016\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13926016\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/R-1268690-1219563443.jpg\" alt=\"Spice 1\" width=\"600\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-1268690-1219563443.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/R-1268690-1219563443-160x157.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">An early single by Spice 1, with a logo drawn by Boze. \u003ccite>(Jive Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Money was slow, though, and Boze briefly considered turning to the streets. Then he got into airbrushing.\u003c/p>\n\u003cp>During that era, about three major hip-hop tours would come to town each year, and Boze would be ready. “I’d be in my grandmother’s garage airbrushing like 10-12 outfits, charging people $350 a piece,” says Boze, noting that white Guess or Levi’s jeans were a favorite. “My grandmother was getting mad because she’d see all these guys with 5.0’s, glasshouses, and K5s pulling up and coming to the house,” says Boze, imitating his grandmother’s concerned voice. “I’m in there airbrushing! I had an honest hustle.”\u003c/p>\n\u003cp>Along with visual art, Boze was a part of\u003ca href=\"https://www.discogs.com/artist/4904066-T-CAP-Productions\"> T-CAP Productions\u003c/a>’ group \u003ca href=\"https://www.discogs.com/artist/203244-Capital-Tax\" target=\"_blank\" rel=\"noopener\">Capital Tax\u003c/a>. He earned a name as a dancer, designed the logo for the crew and even did some musical production.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"CAPITAL TAX- 2 TIMIN\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/skuAI7yFFJ0?start=1&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As his reputation and clientele in Deep East Oakland grew, Boze eventually made artwork for someone in Too Short’s crew. Coincidentally, Short had recorded a new album for Jive, and he needed artwork too. “They came to me,” says Boze. “Short was like, ‘I want you to do a sideshow scene, but I need it with dogs.’”\u003c/p>\n\u003cp>Short also suggested to Boze a few types of cars to draw, but told him to use his imagination with the rest. Boze is quick to mention that modern sideshows are different than the one depicted on the album cover, the way they used to be. “It was more like a car show. People brought out Falcons, Novas, Cougars, Mustangs. Trues and Vogues, Zapco boards. It was a chill situation,” says Boze. In the late 1980s, he adds, only a few people did donuts, police rarely came, and afterward, folks would hit Mexicali Rose or Denny’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With years of preparation from art school under his belt, chronicling that era of the sideshow came easy; Boze says he knocked it out in two or three days. But the image that’s widely known — that’s the second drawing. The first one was rejected by Jive; the label needed certain specs for reproduction. “Short never gave me back the original one,” says Boze. “So either Short still has it, or someone at Jive does.”\u003c/p>\n\u003cp>The version that adorns the platinum-selling album, meanwhile, has been widely shared and impactful. Short has \u003ca href=\"https://youtu.be/sJXzYAeTk0U?t=118\" target=\"_blank\" rel=\"noopener\">gone on record\u003c/a> to mention the importance of the album cover, as have other major artists. Even Snoop Dogg seemed to have a fanboy moment when recently discussing the album art, and how it directly influenced the \u003ca href=\"https://en.wikipedia.org/wiki/Doggystyle\">cartoon-dog cover art\u003c/a> for his smash-hit album \u003cem>Doggystyle\u003c/em>.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Snoop Dogg & Too Short Talk Music (April 07, 2020)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/qnd3wBdXXDE?start=1020&feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Boze tells me he’s talked to people about the \u003ci>Short Dog’s in the House\u003c/i> art all across the country: Virginia, Tennessee, Wisconsin, and even in Alabama, where he now resides. Years removed from the experience, now working as a curator of arts education for the \u003ca href=\"https://artistcommunities.org/directory/organizations/coleman-center-arts\" target=\"_blank\" rel=\"noopener\">Coleman Center of the Arts\u003c/a> in York, Alabama, Boze says he doesn’t often discuss the album — but when it does come up, people tell him how it made them feel. Not the music on the album, but the artwork itself.\u003c/p>\n\u003cp>A teenager at the time of the drawing, Boze says it’s wild to think the image could be likened to a hip-hop version of \u003ca href=\"https://www.mfah.org/exhibitions/sugar-shack#&gid=cc5054066ed84c259198418242e77992&pid=25074691\" target=\"_blank\" rel=\"noopener\">The Sugar Shack\u003c/a>, the dance-hall scene painted by Ernie Barnes, which was featured on the cover of Marvin Gaye’s \u003cem>I Want You\u003c/em> and shown the final credits of the show \u003cem>Good Times\u003c/em>.\u003c/p>\n\u003cp>While it’s debatable if the image is on that same cultural level, the numbers don’t lie. “Over a million people have seen this work, I’ve got the plaque to prove it,” says Boze with a laugh. “I’m a platinum artist.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "poignant-graphic-novel-ephemera-explores-an-oakland-artists-lonely-childhood",
"title": "Poignant Graphic Novel ‘Ephemera’ Explores an Oakland Artist’s Lonely Childhood",
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"headTitle": "Poignant Graphic Novel ‘Ephemera’ Explores an Oakland Artist’s Lonely Childhood | KQED",
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"content": "\u003cp>There is a profound yearning in Briana Loewinsohn’s new graphic novel \u003cem>Ephemera \u003c/em>that diligently creeps throughout, like so many vines in search of daylight. It’s a yearning that’s unspoken, lurking in empty corners and open fields. It’s present in small, desperate acts and silent scenes of isolation. That yearning provides a depth to the Oakland artist’s debut memoir that takes surface beauty and transforms it into something devastating.\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/ephemera\">\u003cem>Ephemera\u003c/em>\u003c/a> (Fantagraphics; $24.99) is the story of Loewinsohn’s childhood, of growing up with a mentally ill, neglectful mother who would disappear for extended periods, leaving Loewinsohn and her brother unattended. The author turned to nature for comfort, embracing tree branches, grass blades and potted plants when there was nothing to hold onto at home.\u003c/p>\n\u003cfigure id=\"attachment_13926139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png\" alt=\"An illustration depicts a small girl lying on a tree branch. A caption above her reads 'Feeling your absence.'\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1020x599.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-768x451.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1536x902.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM.png 1794w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nature and trees appear as a source of comfort in ‘Ephemera.’ \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Told from the perspective of the adult Loewinsohn as she returns to her childhood home in Berkeley to tend to the gardens there, the story distinguishes between the artist’s past and present using subdued but distinct color palettes. Her past is brought to life in blues and grays, emphasizing the coldness of the family home and the haze inherent to memories. Her present is tinged with reds, oranges and browns, like a new dawn, albeit one still contained in half-light.\u003c/p>\n\u003cp>[aside postid='arts_13923268']The vegetation around Loewinsohn is a reflection of her past, her present and her desire to heal. (“Sometimes,” Loewinsohn notes at one point, “I worry about the plants that grow alone.”) In tending to her childhood gardens in the present day, Loewinsohn is repaying the living things that nurtured her as a child. But she’s also honoring her absent mother, who took better care of the plants in her care than the children.\u003c/p>\n\u003cp>Loewinsohn shares restrained but sometimes agonizing realizations about how little love can sustain living things. “A little water can go a long way,” she notes after reviving one potted plant that appeared close to death.\u003c/p>\n\u003cfigure id=\"attachment_13926138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png\" alt=\"An illustration showing a small girl curled up alone in a large bed, surrounded on all side by giant flowers and vines. \" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1020x672.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1536x1012.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM.png 1724w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The young Loewinsohn curled up in her mother’s bed, seeking comfort. \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>Ephemera\u003c/em> extra-special is that it’s an almost wordless meditation. That quietude emphasizes the loneliness of Loewinsohn’s childhood in a manner that is frequently heart-wrenching. (I don’t remember a graphic novel that has ever made me cry as much as this one did.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Helpfully, there is much grace and optimism here too — particularly in the understanding that beautiful things may still grow out of shadows. For that, and many other reasons, \u003cem>Ephemera\u003c/em> is an unusual and profoundly moving work.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.fantagraphics.com/collections/new-this-month/products/ephemera\">‘Ephemera’ publishes March 21\u003c/a> via Fantagraphics Books. Loewinsohn will read and appear in conversation with graphic novelist Thien Pham at 7 p.m. on March 21 at Mrs. Dalloway’s Literary and Garden Arts in Berkeley. \u003ca href=\"https://www.eventbrite.com/e/briana-loewinsohn-in-store-launch-for-her-new-graphic-novel-ephemera-tickets-541707962097\">Details here\u003c/a>. Loewinsohn will also be in conversation with Gene Luen Yang and doing a book signing at Green Apple Books in San Francisco at 7 p.m. on March 27. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-briana-loewinsohn-gene-luen-yang\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is a profound yearning in Briana Loewinsohn’s new graphic novel \u003cem>Ephemera \u003c/em>that diligently creeps throughout, like so many vines in search of daylight. It’s a yearning that’s unspoken, lurking in empty corners and open fields. It’s present in small, desperate acts and silent scenes of isolation. That yearning provides a depth to the Oakland artist’s debut memoir that takes surface beauty and transforms it into something devastating.\u003c/p>\n\u003cp>\u003ca href=\"https://www.fantagraphics.com/products/ephemera\">\u003cem>Ephemera\u003c/em>\u003c/a> (Fantagraphics; $24.99) is the story of Loewinsohn’s childhood, of growing up with a mentally ill, neglectful mother who would disappear for extended periods, leaving Loewinsohn and her brother unattended. The author turned to nature for comfort, embracing tree branches, grass blades and potted plants when there was nothing to hold onto at home.\u003c/p>\n\u003cfigure id=\"attachment_13926139\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926139\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png\" alt=\"An illustration depicts a small girl lying on a tree branch. A caption above her reads 'Feeling your absence.'\" width=\"800\" height=\"470\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-800x470.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1020x599.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-768x451.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM-1536x902.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.57.37-PM.png 1794w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nature and trees appear as a source of comfort in ‘Ephemera.’ \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Told from the perspective of the adult Loewinsohn as she returns to her childhood home in Berkeley to tend to the gardens there, the story distinguishes between the artist’s past and present using subdued but distinct color palettes. Her past is brought to life in blues and grays, emphasizing the coldness of the family home and the haze inherent to memories. Her present is tinged with reds, oranges and browns, like a new dawn, albeit one still contained in half-light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The vegetation around Loewinsohn is a reflection of her past, her present and her desire to heal. (“Sometimes,” Loewinsohn notes at one point, “I worry about the plants that grow alone.”) In tending to her childhood gardens in the present day, Loewinsohn is repaying the living things that nurtured her as a child. But she’s also honoring her absent mother, who took better care of the plants in her care than the children.\u003c/p>\n\u003cp>Loewinsohn shares restrained but sometimes agonizing realizations about how little love can sustain living things. “A little water can go a long way,” she notes after reviving one potted plant that appeared close to death.\u003c/p>\n\u003cfigure id=\"attachment_13926138\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926138\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png\" alt=\"An illustration showing a small girl curled up alone in a large bed, surrounded on all side by giant flowers and vines. \" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-800x527.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1020x672.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-768x506.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM-1536x1012.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-13-at-12.55.56-PM.png 1724w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The young Loewinsohn curled up in her mother’s bed, seeking comfort. \u003ccite>(Fantagraphics Books Inc.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What makes \u003cem>Ephemera\u003c/em> extra-special is that it’s an almost wordless meditation. That quietude emphasizes the loneliness of Loewinsohn’s childhood in a manner that is frequently heart-wrenching. (I don’t remember a graphic novel that has ever made me cry as much as this one did.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Helpfully, there is much grace and optimism here too — particularly in the understanding that beautiful things may still grow out of shadows. For that, and many other reasons, \u003cem>Ephemera\u003c/em> is an unusual and profoundly moving work.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.fantagraphics.com/collections/new-this-month/products/ephemera\">‘Ephemera’ publishes March 21\u003c/a> via Fantagraphics Books. Loewinsohn will read and appear in conversation with graphic novelist Thien Pham at 7 p.m. on March 21 at Mrs. Dalloway’s Literary and Garden Arts in Berkeley. \u003ca href=\"https://www.eventbrite.com/e/briana-loewinsohn-in-store-launch-for-her-new-graphic-novel-ephemera-tickets-541707962097\">Details here\u003c/a>. Loewinsohn will also be in conversation with Gene Luen Yang and doing a book signing at Green Apple Books in San Francisco at 7 p.m. on March 27. \u003ca href=\"https://www.greenapplebooks.com/event/9th-ave-briana-loewinsohn-gene-luen-yang\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "yoyoka-soma-drummer-oakland",
"title": "At 13, Drummer Yoyoka Soma Speaks the Universal Language of Rock ‘n’ Roll",
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"content": "\u003cp>When drummer \u003ca href=\"https://www.instagram.com/yoyoka_drums/?hl=en\">Yoyoka Soma\u003c/a> first rocketed into internet stardom in 2018, millions swarmed to her videos, proclaiming her the next big star in rock ‘n’ roll. Soma, then an elementary school student living in Hokkaido, Japan, seemed to already possess musical sensibilities some adults spend their whole lives training for.\u003c/p>\n\u003cp>Watching her was hypnotic: Music seemed to take over her entire body. Each hit of the cymbal appeared to electrify her limbs, powering the next succession of passionate and coordinated movements. Her expressions bounced from playful to focused, but never strained. It looked impossibly easy for her — even at age 7.[aside label=\"Related Stories\" postID=\"arts_13912562\"]\u003c/p>\n\u003cp>For as long as she can remember, drums have provided the musician an oasis from stress, frustration and unease. “If I have nerves, I sit at the drums and it’s gone,” says Soma, now 13, in a recent interview at her current home in Oakland. “I don’t know why but …they disappear once I sit at my drum set.”\u003c/p>\n\u003cp>Soma has lived in the Bay Area with her family — father Akifumi, mother Rie and younger brother Shido — since late 2022. Last fall, the Soma family decided to move to the states so that Soma could explore and grow more freely as a musician, uninhibited by their native Japan’s school system, which she describes as more traditional. Soma is currently in seventh grade at Oakland School for the Arts, where she is learning jazz and blues drum techniques that push her beyond her proclivity for the rock genre. When recalling music classes in Japan, Soma remembers their limitations.\u003c/p>\n\u003cfigure id=\"attachment_13926106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"A family of four people, Japanese immigrants, smile for a portrait outside in front of trees: a teenage girl, her father, her younger brother and her mother\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma (left) poses for a photo with her dad Akifumi, mom Rie and younger brother Shido near their home in Oakland. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s totally different because my Japanese school was not an arts school,” says Soma. “Class was very traditional: there was just the recorder, singing, piano and harmonica. I like those but there was no choice. So I couldn’t play the drums.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Discouraged at school, Soma would pour herself into the drums at home — an instrument she’d been learning since she was one. Her parents, also musicians, were supportive and often held jam sessions where they’d play along to their favorite songs together — eventually forming their family band, KANEAIYOYOKA.\u003c/p>\n\u003cp>When Akifumi and Rie began uploading her \u003ca href=\"https://www.youtube.com/@yoyoka_soma/featured\">solo cover videos to YouTube\u003c/a> in 2015, she steadily amassed an audience. In 2018, that audience exploded following a viral cover of the 1969 Led Zeppelin track “Good Times Bad Times.” In it, a younger Soma sports a short bowl cut, crinkling her nose and smiling as she plays to the song’s energetic and varied tempos. Over the next couple of years, her covers of other American rock staples like Nirvana’s “Smells Like Teen Spirit” gained massive views and earned her two guest appearances on \u003cem>The Ellen Show\u003c/em> in 2019.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=91pz1E8pAOY\u003c/p>\n\u003cp>But in recent conversations, the online attention and acclaim she received during that period don’t really come up. Lately, Soma is fully occupied with school, practice, gigs and filming videos and live streams for her subscribers. During the week, she begins most mornings first sleeping through her 6:30 a.m. alarm before trudging to the kitchen for breakfast and heading out for school. From 8 a.m. to 4:30 p.m., she works through a packed schedule of English, music, social studies, math and life science courses before heading home for individual drum practice, dinner and more practice with family. “I’m so tired every day, most recently,” she says.\u003c/p>\n\u003cp>While her music classes in Japan felt a bit sterile and restricted, Soma says her current music courses are full of energy and chaos — sometimes to a fault. There is constant noise and a rowdiness that Soma has had trouble adjusting to. “My friends are so loud, [specifically] the boys,” she says. “I don’t like it — that part. But I have new experiences every day and I can learn [techniques] outside of rock music.”\u003c/p>\n\u003cp>As she navigates this new setting, her greatest challenge is following along and understanding the material in English during her other classes. “Everyday, [I think]: ‘What are you talking about, teacher?’” says Soma. “My friends are so kind, like speaking a bit slowly. But in class, I don’t know! It’s the most difficult thing.”\u003c/p>\n\u003cfigure id=\"attachment_13926086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"a young Japanese girl plays the drums while smiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma says the language barrier has been difficult since moving to the U.S. — but music helps bridge the gaps. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her alone time, she often retreats to nature or returns to her drum set at home to clear her head. These long school days, crammed with confusing lectures and new concepts taught in a language she has not yet grasped, are often overwhelming. In a recurring dream, she attends a school where the language barrier she currently struggles with is nonexistent.\u003c/p>\n\u003cp>“Everyone speaks different languages, but I hear Japanese,” says Soma. “I like that dream. All the time. Every day, I go to that dream.”\u003c/p>\n\u003cp>While Soma grapples with language obstacles, music and art allow her to fill in those gaps of understanding with others. During jam sessions with her classmates and other Bay Area artists, there is sometimes a moment of silent magic: where the groove and rhythm sync up between musicians and they’re able to improvise something unique to their musical connection. These sessions also act as keys that unlock new landscapes of sounds, genres and histories — allowing for an exchange of ideas and emotions without having to speak a word.\u003c/p>\n\u003cp>Since moving to the East Bay, Soma has jammed with Oakland singer-songwriter Fantastic Negrito, whose soulful songs that combine blues, roots rock and country have inspired her to learn more about genre-blending music. Her friends at school have introduced her to an array of hip-hop and rap, where the art of sampling and revamping older songs and beats is generative and full of possibility. Music has offered her a new way of expanding her relationships, not only with new friends and fellow musicians, but with Oakland and herself.\u003c/p>\n\u003cfigure id=\"attachment_13926085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926085\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"a four-person Japanese family sit in a home music studio practicing instruments and smiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma and her family practice for their band, Kaneaiyoyoka, at their home in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving forward, Soma doesn’t have many long term plans sketched out. She wants to eventually make albums, have more jam sessions and perform at more events. But she also wants to read books, drink chocolate milk with her schoolmates, run around outside with her brother Shido and visit the Oakland Zoo. The pressure of being held in such high regard — and on a very public scale — isn’t really at the forefront of her mind. Soma, for all her talent and gifts, is still a young teen adjusting to completely new surroundings. In this current stage of life, of uncertainty and adaptation, she is inspired by the everyday: By moments of spontaneity that she translates through her rebellious, spirited playing.\u003c/p>\n\u003cp>“Any creation of mine can be music. It should be natural until I die,” says Soma. “If I can give some courage or confidence to people, I want to be that person. I want to [give] back.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PKMlpDgg64E\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Yoyoka Soma will perform at Notes & Words, an annual benefit concert for UCSF Benioff Children’s Hospitals, on March 25. \u003ca href=\"https://www.notesandwords.org/\">Tickets and information here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"title": "At 13, Drummer Yoyoka Soma Speaks the Universal Language of Rock ‘n’ Roll | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When drummer \u003ca href=\"https://www.instagram.com/yoyoka_drums/?hl=en\">Yoyoka Soma\u003c/a> first rocketed into internet stardom in 2018, millions swarmed to her videos, proclaiming her the next big star in rock ‘n’ roll. Soma, then an elementary school student living in Hokkaido, Japan, seemed to already possess musical sensibilities some adults spend their whole lives training for.\u003c/p>\n\u003cp>Watching her was hypnotic: Music seemed to take over her entire body. Each hit of the cymbal appeared to electrify her limbs, powering the next succession of passionate and coordinated movements. Her expressions bounced from playful to focused, but never strained. It looked impossibly easy for her — even at age 7.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For as long as she can remember, drums have provided the musician an oasis from stress, frustration and unease. “If I have nerves, I sit at the drums and it’s gone,” says Soma, now 13, in a recent interview at her current home in Oakland. “I don’t know why but …they disappear once I sit at my drum set.”\u003c/p>\n\u003cp>Soma has lived in the Bay Area with her family — father Akifumi, mother Rie and younger brother Shido — since late 2022. Last fall, the Soma family decided to move to the states so that Soma could explore and grow more freely as a musician, uninhibited by their native Japan’s school system, which she describes as more traditional. Soma is currently in seventh grade at Oakland School for the Arts, where she is learning jazz and blues drum techniques that push her beyond her proclivity for the rock genre. When recalling music classes in Japan, Soma remembers their limitations.\u003c/p>\n\u003cfigure id=\"attachment_13926106\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926106\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"A family of four people, Japanese immigrants, smile for a portrait outside in front of trees: a teenage girl, her father, her younger brother and her mother\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63028_001_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma (left) poses for a photo with her dad Akifumi, mom Rie and younger brother Shido near their home in Oakland. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s totally different because my Japanese school was not an arts school,” says Soma. “Class was very traditional: there was just the recorder, singing, piano and harmonica. I like those but there was no choice. So I couldn’t play the drums.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Discouraged at school, Soma would pour herself into the drums at home — an instrument she’d been learning since she was one. Her parents, also musicians, were supportive and often held jam sessions where they’d play along to their favorite songs together — eventually forming their family band, KANEAIYOYOKA.\u003c/p>\n\u003cp>When Akifumi and Rie began uploading her \u003ca href=\"https://www.youtube.com/@yoyoka_soma/featured\">solo cover videos to YouTube\u003c/a> in 2015, she steadily amassed an audience. In 2018, that audience exploded following a viral cover of the 1969 Led Zeppelin track “Good Times Bad Times.” In it, a younger Soma sports a short bowl cut, crinkling her nose and smiling as she plays to the song’s energetic and varied tempos. Over the next couple of years, her covers of other American rock staples like Nirvana’s “Smells Like Teen Spirit” gained massive views and earned her two guest appearances on \u003cem>The Ellen Show\u003c/em> in 2019.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/91pz1E8pAOY'\n title='//www.youtube.com/embed/91pz1E8pAOY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But in recent conversations, the online attention and acclaim she received during that period don’t really come up. Lately, Soma is fully occupied with school, practice, gigs and filming videos and live streams for her subscribers. During the week, she begins most mornings first sleeping through her 6:30 a.m. alarm before trudging to the kitchen for breakfast and heading out for school. From 8 a.m. to 4:30 p.m., she works through a packed schedule of English, music, social studies, math and life science courses before heading home for individual drum practice, dinner and more practice with family. “I’m so tired every day, most recently,” she says.\u003c/p>\n\u003cp>While her music classes in Japan felt a bit sterile and restricted, Soma says her current music courses are full of energy and chaos — sometimes to a fault. There is constant noise and a rowdiness that Soma has had trouble adjusting to. “My friends are so loud, [specifically] the boys,” she says. “I don’t like it — that part. But I have new experiences every day and I can learn [techniques] outside of rock music.”\u003c/p>\n\u003cp>As she navigates this new setting, her greatest challenge is following along and understanding the material in English during her other classes. “Everyday, [I think]: ‘What are you talking about, teacher?’” says Soma. “My friends are so kind, like speaking a bit slowly. But in class, I don’t know! It’s the most difficult thing.”\u003c/p>\n\u003cfigure id=\"attachment_13926086\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"a young Japanese girl plays the drums while smiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63038_012_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma says the language barrier has been difficult since moving to the U.S. — but music helps bridge the gaps. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her alone time, she often retreats to nature or returns to her drum set at home to clear her head. These long school days, crammed with confusing lectures and new concepts taught in a language she has not yet grasped, are often overwhelming. In a recurring dream, she attends a school where the language barrier she currently struggles with is nonexistent.\u003c/p>\n\u003cp>“Everyone speaks different languages, but I hear Japanese,” says Soma. “I like that dream. All the time. Every day, I go to that dream.”\u003c/p>\n\u003cp>While Soma grapples with language obstacles, music and art allow her to fill in those gaps of understanding with others. During jam sessions with her classmates and other Bay Area artists, there is sometimes a moment of silent magic: where the groove and rhythm sync up between musicians and they’re able to improvise something unique to their musical connection. These sessions also act as keys that unlock new landscapes of sounds, genres and histories — allowing for an exchange of ideas and emotions without having to speak a word.\u003c/p>\n\u003cp>Since moving to the East Bay, Soma has jammed with Oakland singer-songwriter Fantastic Negrito, whose soulful songs that combine blues, roots rock and country have inspired her to learn more about genre-blending music. Her friends at school have introduced her to an array of hip-hop and rap, where the art of sampling and revamping older songs and beats is generative and full of possibility. Music has offered her a new way of expanding her relationships, not only with new friends and fellow musicians, but with Oakland and herself.\u003c/p>\n\u003cfigure id=\"attachment_13926085\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926085\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg\" alt=\"a four-person Japanese family sit in a home music studio practicing instruments and smiling\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/RS63049_023_KQEDArts_YoyokaSomaDrummer_02092023-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Yoyoka Soma and her family practice for their band, Kaneaiyoyoka, at their home in Oakland. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Moving forward, Soma doesn’t have many long term plans sketched out. She wants to eventually make albums, have more jam sessions and perform at more events. But she also wants to read books, drink chocolate milk with her schoolmates, run around outside with her brother Shido and visit the Oakland Zoo. The pressure of being held in such high regard — and on a very public scale — isn’t really at the forefront of her mind. Soma, for all her talent and gifts, is still a young teen adjusting to completely new surroundings. In this current stage of life, of uncertainty and adaptation, she is inspired by the everyday: By moments of spontaneity that she translates through her rebellious, spirited playing.\u003c/p>\n\u003cp>“Any creation of mine can be music. It should be natural until I die,” says Soma. “If I can give some courage or confidence to people, I want to be that person. I want to [give] back.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PKMlpDgg64E'\n title='//www.youtube.com/embed/PKMlpDgg64E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Yoyoka Soma will perform at Notes & Words, an annual benefit concert for UCSF Benioff Children’s Hospitals, on March 25. \u003ca href=\"https://www.notesandwords.org/\">Tickets and information here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A New Farmers Market in West Oakland Promises Healthy Foods and Community Flavor",
"headTitle": "A New Farmers Market in West Oakland Promises Healthy Foods and Community Flavor | KQED",
"content": "\u003cp>The West Oakland neighborhood where Elliot Johnson grew up during the 1980s was filled with community abundance — but hampered, at times, by a lack of fresh, organic foods.\u003c/p>\n\u003cp>“On 14th and Center there was a store, but a real grocer wasn’t really around until Acorn Super. Then they closed,” he remembers. “The people were happy, but it was real bad poverty back then. You had to go to Alameda or Rockridge for fresh food. It was tough. So when [West Oakland Farmers Market] started, we knew we had to be part of it.”\u003c/p>\n\u003cp>Johnson and his wife, Shawlaya, operate \u003ca href=\"https://www.instagram.com/goldisgourmetspices/?hl=en\">Goldi’s\u003c/a>, a small-batch spice business that pops up every Sunday at the quirky \u003ca href=\"https://www.instagram.com/westoaklandfarmersmarket/?hl=en\">West Oakland Farmers Market\u003c/a>. The new outdoor market — located in the Prescott neighborhood on Peralta Street, between 18th and 20th Streets — offers a mosaic of goods provided by a diverse spectrum of local vendors and artisans. The hope is to reflect the neighborhood’s robust past and evolving future in order to serve the community’s present needs.\u003c/p>\n\u003cp>On any given Sunday, you can browse the market’s selection of tasty beverages and natural foods while strolling a quiet, two-block road sentineled by nearby Victorian homes. Perhaps more importantly, you’ll notice that the market is helping to open a fresh lane in the community: one that creates a path for aspiring entrepreneurs in the area’s overlooked pocket of healthy foods commerce.\u003c/p>\n\u003cfigure id=\"attachment_13925807\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/goldis_alanchazaro-800x533.jpg\" alt=\"A man stands in front of his spice booth at the market\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Johnson grew up in West Oakland in the 1980s and now sells his spices at the new farmers market. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Launched in the summer of 2022 with the support of Oakland Councilmember Carroll Fife and the \u003ca href=\"https://cao-94612.s3.amazonaws.com/documents/Neighborhood-Council-Meeting-Schedule-2_2022-09-20-192105_fkcl.xlsx\">Prescott Neighborhood Council\u003c/a>, the market is currently the neighborhood’s only farmers market. Less than a year later, the market has turned into the only intersection in West Oakland where such a collection of organic farmers, florists, breadmakers, honey purveyors, ranchers, meat suppliers and wide-ranging community members like the Johnsons can share their homemade offerings to a steady base of market-goers..\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Featuring anywhere from 25 to 50 vendors each week — and predominantly representing Black, brown and Asian diasporas — the market spotlights a potpourri of creative offerings with an emphasis on providers who aren’t usually the biggest demographic at other farmers markets.\u003c/p>\n\u003cp>“Working with future generations of diverse organic farmers, it’s harder for them to get into more established markets,” says Harvindar Singh, the founder of \u003ca href=\"https://www.foragersmarket.org/about\">Foragers Market\u003c/a>, the organization that operates West Oakland Farmers Market along with a handful of similar markets around the Bay Area. “But things are changing. [The idea of] traditional, old, white hippie farmers is beginning to open up to more diverse farmers and vendors.”\u003c/p>\n\u003cp>Coming on the heels of last year’s sudden closure of \u003ca href=\"https://www.berkeleyside.org/2022/02/24/oakland-community-foods-brahm-ahmadi\">People’s Community Market\u003c/a>, one of West Oakland’s only grocery stores, the farmers market arrives at a time when the neighborhood once again finds itself with limited access to such resources.\u003c/p>\n\u003cp>Often described as a “food desert,” West Oakland — like many communities shaped by decades of segregation and systemically racist practices — has struggled to maintain a sustainable, concentrated supply of high-quality groceries, particularly in recent years as the Bay Area has only become increasingly unaffordable and inaccessible for working class families. Besides small, community-led sources like \u003ca href=\"https://www.instagram.com/bottomsupcommunitygarden/?hl=en\">Bottoms Up Community Garden\u003c/a> and \u003ca href=\"https://www.cityslickerfarms.org/about-us/\">City Slicker Farms\u003c/a>, which supply fresh produce directly to the immediate area, the neighborhood doesn’t have many options. \u003ca href=\"https://www.good.is/articles/change-through-food-bringing-an-oasis-to-the-west-oakland-food-desert\">Mandela Foods Cooperative\u003c/a> is a heralded beacon, providing the only walkable source of varietal produce for those who call the area home.\u003c/p>\n\u003cp>Within this complex landscape of food injustice, the West Oakland Farmers Market — which partners with Mandela to allow its vendors to distribute at the co-op in order to foster a mutually beneficial relationship — is hoping to shift the narrative.\u003c/p>\n\u003cfigure id=\"attachment_13925810\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-800x533.jpg\" alt=\"the inside of a commercial building that is planning to be turned into a foodhall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plans for a food hall near the West Oakland Farmers Market will feature local foodmakers. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, it’s necessary to look at any emerging venture in West Oakland with a certain degree of skepticism — to perhaps wonder if this is another attempt to gain footing in an increasingly gentrifiying sliver of land. After all, the farmers market is funded by a commercial real estate developer, \u003ca href=\"https://srmernst.com/\">srmERNST Development Partners\u003c/a>, which is also in the process of building a new food hall nearby — an impressive space that will host local foodmakers as well. Joe Ernst, srmERNST’s founder, and the folks behind West Oakland Farmers Market all seem to have good intentions. They say they want to deliver a promising, collaborative space for the neighborhood’s residents. But the larger issue of community revitalization is layered and intersectional, and no single effort can resolve more than nearly a half-century of institutional neglect.\u003c/p>\n\u003cp>“What we know from mounting research over the past four to six years is that geographic access inequalities are actually a pretty poor explanation of dietary inequalities,” said Priya Fielding-Singh, author of \u003ci>How the Other Half Eats\u003c/i>, \u003ca href=\"https://www.kqed.org/arts/13907528/how-the-other-half-eats-food-deserts-food-inequality-bay-area\">in a past interview with KQED\u003c/a>. In other words, food deserts are only a small part of the problem, and the addition of a single farmers market can only do so much to improve the way that people in West Oakland eat.\u003c/p>\n\u003cp>That said, the West Oakland Farmers Market does represent a tide of change and opportunity, with potential to become a generative outlet for both vendors and market-goers. In \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/west-oakland-farmers-market-17782486.php\">a recent \u003ci>San Francisco Chronicle\u003c/i> interview\u003c/a>, Ernst, the developer, said he wants to “have an impact on the area, not just build and lease.” What better way to make an impact than through good food?\u003c/p>\n\u003cp>Singh, who has over 10 years of experience as the “local forager” for Whole Foods and has built relationships with farmers around Northern California, seems to be the right man for the task, with his empathetic outlook and understanding of what’s at stake for small businesses and community members.\u003c/p>\n\u003cp>“Markets like these are incubators,” Singh says. “They’re designed to give people a way to start up, scale, grow and then go to broader markets.”\u003c/p>\n\u003cp>Under Singh’s energetic leadership, the new farmers market is taking a community-first approach to ensure that the space will remain accessible — and useful — to local buyers and sellers.\u003c/p>\n\u003cp>For instance, 80% of the vendors at the market are BIPOC and representative of the neighborhood, Singh tells me. It’s an intentional effort to provide a space for fledgling micro-businesses around the area. For many of the vendors, it’s one of the only markets they have a chance to sell at, allowing them to supplement their pop-up business while trying to expand sustainably.\u003c/p>\n\u003cfigure id=\"attachment_13925808\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925808\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/sanalo_alanchazaro-800x1200.jpg\" alt=\"two local siblings sell smoothies and granola at the market every Sunday\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cristian and Grisela Sánalo can be found selling smoothies every Sunday at the new market. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such vendor is \u003ca href=\"https://www.instagram.com/sanalo2022/\">Sánalo\u003c/a>, a smoothie and snack company founded by Cristian and Grisela Sánalo, two Mexican American siblings with roots in Oakland and Hayward. The young venture is a part-time hustle for the Sánalos, who work full-time jobs and side gigs on weekdays, then set up on weekends to serve treats like toast and granola.\u003c/p>\n\u003cp>“Living in a major city, it can be difficult to find [a feeling of community],” says Cristian Sánalo. “But the culture [at West Oakland Farmers Market] is definitely inclined to feel like a community. They’re good people who want everyone to do their thing and be successful.”\u003c/p>\n\u003cp>Sánalo’s “Green Magic” smoothie is a rich blend of chia, dates, apple, kale, pineapple, celery and spinach. And the “Apapacho” (a hot beverage made from oats, kabocha squash, ginger and cinnamon) — whose Spanish name, derived from indigenous Nahuatl, roughly translates to “tender affection” — allows customers to tap into less commonly available flavors that reflect the Sánalos’ heritage.\u003c/p>\n\u003cp>If beverages aren’t your thing, there’s amazing sourdough from \u003ca href=\"https://www.instagram.com/rizeupbakery/?hl=en\">Rize Up Bakery\u003c/a>, a Black-owned bakery from San Francisco that, \u003ca href=\"https://rizeupsourdough.com/pages/about\">according to founder Azikiwee Anderson\u003c/a>, was “born as a way to channel energy into something healing during the social unrest caused by the murder of George Floyd.”\u003c/p>\n\u003cp>Looking for less carbs? Bassline Coffee — whose owner, Brad Katz, is \u003ca href=\"https://www.waveworksav.com/\">involved in the local music industry\u003c/a> as an audio-video engineer and first dipped into coffee-making during the pandemic — is pouring “a roast for every rhythm” and supplements his coffee company with his passion for mixtapes.\u003c/p>\n\u003cp>[aside postID='arts_13905374,arts_13915889,arts_13908432']Don’t do caffeine? A few booths away you’ll come across \u003ca href=\"https://www.instagram.com/clandestinacocinaberkeley/?hl=en\">Clandestina Cocina\u003c/a>, a Berkeley-based Cuban eatery serving island-style soul food and classic favorites like ropa vieja (shredded steak in tomato sauce with bell peppers and onions) and the eternally-delicious Cubano sandwich. Havana-born chef Lilian Duran is happy to feed others, including Chari Parla, a Cuban American who used to work at the market.\u003c/p>\n\u003cp>“My first day at the market was such an amazing, dreamlike treat to look up from my booth and see Clandestina across the way,” says Parla, originally from Miami. “I’ve been living [in Oakland] for six years, and I can count on one hand how many Cuban people I’ve met. We don’t find each other often. For me to see, smell, taste and hear all of those Cuban elements is really just warming.”\u003c/p>\n\u003cp>That’s the sort of feeling that Singh hopes to facilitate, often surveying customers and nearby residents about what else they would like to see. The Sunday market has featured live music and, at one point, curated open mic poetry.\u003c/p>\n\u003cp>In an effort to be inclusive, Singh has also lowered, or in some cases removed, the entrance fees for vendors in need, making it easier for non-traditional suppliers to participate. The market also donates products to \u003ca href=\"https://www.acdsal.org/farms\">Dig Deep Farms\u003c/a>, \u003ca href=\"https://westoaklandhealth.org/\">West Oakland Health Council\u003c/a> and the \u003ca href=\"https://www.facebook.com/profile.php?id=1028996737152976&paipv=0&eav=AfY-Rcqphpmcxw2XqrXOeF-Er55s2YHMJsNxFrdjBL7sCfKrKHC4zSHr63ISC8UwZEo&_rdr\">Eritrean Task Force-Orthodox Church\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925809\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-800x533.jpg\" alt=\"a group of friends pose for the camera while exploring the new market\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends pose for the camera while exploring the new market. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, the West Oakland Farmers Market doesn’t feel like most other farmers markets. Singh’s track record of investing in nascent, grassroots business is a strong focus, and his compassionate compass helps him navigate the market’s larger civic goals.\u003c/p>\n\u003cp>“Fernando [from Catalan Farm] is an organic farmer from Alba,” says Singh. “He teaches immigrant farmers how to grow organically. He’s the perfect example of how this market is about uplifting space to converse and support locally. It’s gonna take time to build, but we’re in it for the long haul. I’m having a blast, I love this community and these customers communing and supporting each other.”\u003c/p>\n\u003cp>With the aforementioned food hall already under construction in partnership with the developer, Ernst — who initially funded the West Oakland Farmers Market during its start-up phase before it became self-sufficient — Singh says Foragers Market hopes to continue to provide enriching economic opportunities for vendors and accessible, affordable and natural foods that meet customers wherever they’re at. It will require care, awareness and precise management — much like a field of crops, I imagine — but if done right, could yield a cornucopia of possibilities. And for many, it’s what they’ve been waiting for.\u003c/p>\n\u003cp>“It’s like being back home,” Johnson, the spice vendor who grew up in West Oakland, says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>West Oakland Farmers Market is open every Sunday from 10 a.m. to 2 p.m. (on Peralta Street between 18th and 20th Streets). WIC/EBT accepted.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The West Oakland neighborhood where Elliot Johnson grew up during the 1980s was filled with community abundance — but hampered, at times, by a lack of fresh, organic foods.\u003c/p>\n\u003cp>“On 14th and Center there was a store, but a real grocer wasn’t really around until Acorn Super. Then they closed,” he remembers. “The people were happy, but it was real bad poverty back then. You had to go to Alameda or Rockridge for fresh food. It was tough. So when [West Oakland Farmers Market] started, we knew we had to be part of it.”\u003c/p>\n\u003cp>Johnson and his wife, Shawlaya, operate \u003ca href=\"https://www.instagram.com/goldisgourmetspices/?hl=en\">Goldi’s\u003c/a>, a small-batch spice business that pops up every Sunday at the quirky \u003ca href=\"https://www.instagram.com/westoaklandfarmersmarket/?hl=en\">West Oakland Farmers Market\u003c/a>. The new outdoor market — located in the Prescott neighborhood on Peralta Street, between 18th and 20th Streets — offers a mosaic of goods provided by a diverse spectrum of local vendors and artisans. The hope is to reflect the neighborhood’s robust past and evolving future in order to serve the community’s present needs.\u003c/p>\n\u003cp>On any given Sunday, you can browse the market’s selection of tasty beverages and natural foods while strolling a quiet, two-block road sentineled by nearby Victorian homes. Perhaps more importantly, you’ll notice that the market is helping to open a fresh lane in the community: one that creates a path for aspiring entrepreneurs in the area’s overlooked pocket of healthy foods commerce.\u003c/p>\n\u003cfigure id=\"attachment_13925807\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925807\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/goldis_alanchazaro-800x533.jpg\" alt=\"A man stands in front of his spice booth at the market\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/goldis_alanchazaro.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Elliot Johnson grew up in West Oakland in the 1980s and now sells his spices at the new farmers market. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Launched in the summer of 2022 with the support of Oakland Councilmember Carroll Fife and the \u003ca href=\"https://cao-94612.s3.amazonaws.com/documents/Neighborhood-Council-Meeting-Schedule-2_2022-09-20-192105_fkcl.xlsx\">Prescott Neighborhood Council\u003c/a>, the market is currently the neighborhood’s only farmers market. Less than a year later, the market has turned into the only intersection in West Oakland where such a collection of organic farmers, florists, breadmakers, honey purveyors, ranchers, meat suppliers and wide-ranging community members like the Johnsons can share their homemade offerings to a steady base of market-goers..\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Featuring anywhere from 25 to 50 vendors each week — and predominantly representing Black, brown and Asian diasporas — the market spotlights a potpourri of creative offerings with an emphasis on providers who aren’t usually the biggest demographic at other farmers markets.\u003c/p>\n\u003cp>“Working with future generations of diverse organic farmers, it’s harder for them to get into more established markets,” says Harvindar Singh, the founder of \u003ca href=\"https://www.foragersmarket.org/about\">Foragers Market\u003c/a>, the organization that operates West Oakland Farmers Market along with a handful of similar markets around the Bay Area. “But things are changing. [The idea of] traditional, old, white hippie farmers is beginning to open up to more diverse farmers and vendors.”\u003c/p>\n\u003cp>Coming on the heels of last year’s sudden closure of \u003ca href=\"https://www.berkeleyside.org/2022/02/24/oakland-community-foods-brahm-ahmadi\">People’s Community Market\u003c/a>, one of West Oakland’s only grocery stores, the farmers market arrives at a time when the neighborhood once again finds itself with limited access to such resources.\u003c/p>\n\u003cp>Often described as a “food desert,” West Oakland — like many communities shaped by decades of segregation and systemically racist practices — has struggled to maintain a sustainable, concentrated supply of high-quality groceries, particularly in recent years as the Bay Area has only become increasingly unaffordable and inaccessible for working class families. Besides small, community-led sources like \u003ca href=\"https://www.instagram.com/bottomsupcommunitygarden/?hl=en\">Bottoms Up Community Garden\u003c/a> and \u003ca href=\"https://www.cityslickerfarms.org/about-us/\">City Slicker Farms\u003c/a>, which supply fresh produce directly to the immediate area, the neighborhood doesn’t have many options. \u003ca href=\"https://www.good.is/articles/change-through-food-bringing-an-oasis-to-the-west-oakland-food-desert\">Mandela Foods Cooperative\u003c/a> is a heralded beacon, providing the only walkable source of varietal produce for those who call the area home.\u003c/p>\n\u003cp>Within this complex landscape of food injustice, the West Oakland Farmers Market — which partners with Mandela to allow its vendors to distribute at the co-op in order to foster a mutually beneficial relationship — is hoping to shift the narrative.\u003c/p>\n\u003cfigure id=\"attachment_13925810\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925810\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-800x533.jpg\" alt=\"the inside of a commercial building that is planning to be turned into a foodhall\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_foodhall_alanchazaro.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Plans for a food hall near the West Oakland Farmers Market will feature local foodmakers. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the same time, it’s necessary to look at any emerging venture in West Oakland with a certain degree of skepticism — to perhaps wonder if this is another attempt to gain footing in an increasingly gentrifiying sliver of land. After all, the farmers market is funded by a commercial real estate developer, \u003ca href=\"https://srmernst.com/\">srmERNST Development Partners\u003c/a>, which is also in the process of building a new food hall nearby — an impressive space that will host local foodmakers as well. Joe Ernst, srmERNST’s founder, and the folks behind West Oakland Farmers Market all seem to have good intentions. They say they want to deliver a promising, collaborative space for the neighborhood’s residents. But the larger issue of community revitalization is layered and intersectional, and no single effort can resolve more than nearly a half-century of institutional neglect.\u003c/p>\n\u003cp>“What we know from mounting research over the past four to six years is that geographic access inequalities are actually a pretty poor explanation of dietary inequalities,” said Priya Fielding-Singh, author of \u003ci>How the Other Half Eats\u003c/i>, \u003ca href=\"https://www.kqed.org/arts/13907528/how-the-other-half-eats-food-deserts-food-inequality-bay-area\">in a past interview with KQED\u003c/a>. In other words, food deserts are only a small part of the problem, and the addition of a single farmers market can only do so much to improve the way that people in West Oakland eat.\u003c/p>\n\u003cp>That said, the West Oakland Farmers Market does represent a tide of change and opportunity, with potential to become a generative outlet for both vendors and market-goers. In \u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/west-oakland-farmers-market-17782486.php\">a recent \u003ci>San Francisco Chronicle\u003c/i> interview\u003c/a>, Ernst, the developer, said he wants to “have an impact on the area, not just build and lease.” What better way to make an impact than through good food?\u003c/p>\n\u003cp>Singh, who has over 10 years of experience as the “local forager” for Whole Foods and has built relationships with farmers around Northern California, seems to be the right man for the task, with his empathetic outlook and understanding of what’s at stake for small businesses and community members.\u003c/p>\n\u003cp>“Markets like these are incubators,” Singh says. “They’re designed to give people a way to start up, scale, grow and then go to broader markets.”\u003c/p>\n\u003cp>Under Singh’s energetic leadership, the new farmers market is taking a community-first approach to ensure that the space will remain accessible — and useful — to local buyers and sellers.\u003c/p>\n\u003cp>For instance, 80% of the vendors at the market are BIPOC and representative of the neighborhood, Singh tells me. It’s an intentional effort to provide a space for fledgling micro-businesses around the area. For many of the vendors, it’s one of the only markets they have a chance to sell at, allowing them to supplement their pop-up business while trying to expand sustainably.\u003c/p>\n\u003cfigure id=\"attachment_13925808\" class=\"wp-caption alignleft\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925808\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/sanalo_alanchazaro-800x1200.jpg\" alt=\"two local siblings sell smoothies and granola at the market every Sunday\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/sanalo_alanchazaro-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cristian and Grisela Sánalo can be found selling smoothies every Sunday at the new market. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One such vendor is \u003ca href=\"https://www.instagram.com/sanalo2022/\">Sánalo\u003c/a>, a smoothie and snack company founded by Cristian and Grisela Sánalo, two Mexican American siblings with roots in Oakland and Hayward. The young venture is a part-time hustle for the Sánalos, who work full-time jobs and side gigs on weekdays, then set up on weekends to serve treats like toast and granola.\u003c/p>\n\u003cp>“Living in a major city, it can be difficult to find [a feeling of community],” says Cristian Sánalo. “But the culture [at West Oakland Farmers Market] is definitely inclined to feel like a community. They’re good people who want everyone to do their thing and be successful.”\u003c/p>\n\u003cp>Sánalo’s “Green Magic” smoothie is a rich blend of chia, dates, apple, kale, pineapple, celery and spinach. And the “Apapacho” (a hot beverage made from oats, kabocha squash, ginger and cinnamon) — whose Spanish name, derived from indigenous Nahuatl, roughly translates to “tender affection” — allows customers to tap into less commonly available flavors that reflect the Sánalos’ heritage.\u003c/p>\n\u003cp>If beverages aren’t your thing, there’s amazing sourdough from \u003ca href=\"https://www.instagram.com/rizeupbakery/?hl=en\">Rize Up Bakery\u003c/a>, a Black-owned bakery from San Francisco that, \u003ca href=\"https://rizeupsourdough.com/pages/about\">according to founder Azikiwee Anderson\u003c/a>, was “born as a way to channel energy into something healing during the social unrest caused by the murder of George Floyd.”\u003c/p>\n\u003cp>Looking for less carbs? Bassline Coffee — whose owner, Brad Katz, is \u003ca href=\"https://www.waveworksav.com/\">involved in the local music industry\u003c/a> as an audio-video engineer and first dipped into coffee-making during the pandemic — is pouring “a roast for every rhythm” and supplements his coffee company with his passion for mixtapes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Don’t do caffeine? A few booths away you’ll come across \u003ca href=\"https://www.instagram.com/clandestinacocinaberkeley/?hl=en\">Clandestina Cocina\u003c/a>, a Berkeley-based Cuban eatery serving island-style soul food and classic favorites like ropa vieja (shredded steak in tomato sauce with bell peppers and onions) and the eternally-delicious Cubano sandwich. Havana-born chef Lilian Duran is happy to feed others, including Chari Parla, a Cuban American who used to work at the market.\u003c/p>\n\u003cp>“My first day at the market was such an amazing, dreamlike treat to look up from my booth and see Clandestina across the way,” says Parla, originally from Miami. “I’ve been living [in Oakland] for six years, and I can count on one hand how many Cuban people I’ve met. We don’t find each other often. For me to see, smell, taste and hear all of those Cuban elements is really just warming.”\u003c/p>\n\u003cp>That’s the sort of feeling that Singh hopes to facilitate, often surveying customers and nearby residents about what else they would like to see. The Sunday market has featured live music and, at one point, curated open mic poetry.\u003c/p>\n\u003cp>In an effort to be inclusive, Singh has also lowered, or in some cases removed, the entrance fees for vendors in need, making it easier for non-traditional suppliers to participate. The market also donates products to \u003ca href=\"https://www.acdsal.org/farms\">Dig Deep Farms\u003c/a>, \u003ca href=\"https://westoaklandhealth.org/\">West Oakland Health Council\u003c/a> and the \u003ca href=\"https://www.facebook.com/profile.php?id=1028996737152976&paipv=0&eav=AfY-Rcqphpmcxw2XqrXOeF-Er55s2YHMJsNxFrdjBL7sCfKrKHC4zSHr63ISC8UwZEo&_rdr\">Eritrean Task Force-Orthodox Church\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925809\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925809\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-800x533.jpg\" alt=\"a group of friends pose for the camera while exploring the new market\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/westoakfarmersmarket_shoppers_alanchazaro.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of friends pose for the camera while exploring the new market. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In many ways, the West Oakland Farmers Market doesn’t feel like most other farmers markets. Singh’s track record of investing in nascent, grassroots business is a strong focus, and his compassionate compass helps him navigate the market’s larger civic goals.\u003c/p>\n\u003cp>“Fernando [from Catalan Farm] is an organic farmer from Alba,” says Singh. “He teaches immigrant farmers how to grow organically. He’s the perfect example of how this market is about uplifting space to converse and support locally. It’s gonna take time to build, but we’re in it for the long haul. I’m having a blast, I love this community and these customers communing and supporting each other.”\u003c/p>\n\u003cp>With the aforementioned food hall already under construction in partnership with the developer, Ernst — who initially funded the West Oakland Farmers Market during its start-up phase before it became self-sufficient — Singh says Foragers Market hopes to continue to provide enriching economic opportunities for vendors and accessible, affordable and natural foods that meet customers wherever they’re at. It will require care, awareness and precise management — much like a field of crops, I imagine — but if done right, could yield a cornucopia of possibilities. And for many, it’s what they’ve been waiting for.\u003c/p>\n\u003cp>“It’s like being back home,” Johnson, the spice vendor who grew up in West Oakland, says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>West Oakland Farmers Market is open every Sunday from 10 a.m. to 2 p.m. (on Peralta Street between 18th and 20th Streets). WIC/EBT accepted.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Celebration of Oakland's Black Cultural Figures, in Portraiture",
"headTitle": "A Celebration of Oakland’s Black Cultural Figures, in Portraiture | KQED",
"content": "\u003cp>Inside a lobby off Frank H. Ogawa Plaza in Oakland is a series of illustrations of educators and MCs, as well as photographers, poets and Black Panther Party members.\u003c/p>\n\u003cp>The portraits — all comprised of black jigsaw-puzzle-like images on top of yellow backgrounds with a vertical red line through the face — are a part of the \u003cem>Oakland’s Black Modern Arts Renaissance\u003c/em> exhibition by \u003ca href=\"https://www.instagram.com/shomari7382/\" target=\"_blank\" rel=\"noopener\">Shomari Smith\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05106-800x535.jpg\" alt=\"Famed visual artist and Black Panther Party Newspaper illustrator Emory Douglas takes in Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famed visual artist and Black Panther Party newspaper illustrator Emory Douglas takes in Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are all of my people,” said Smith, a visual artist and \u003ca href=\"https://www.kqed.org/arts/13924170/hieroglyphics-hobo-junction-battle-documentary\" target=\"_blank\" rel=\"noopener\">documentary filmmaker\u003c/a>, at an opening reception with guests, portrait subjects and Oakland Mayor Sheng Thao. “These are people who taught me, people I’ve worked with, people I admire and people I’ve been inspired by.”\u003c/p>\n\u003cp>The images include portraits of \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener\">Joan Tarika Lewis\u003c/a>, the first woman to join the Black Panther Party, as well as \u003ca href=\"https://sambafunk.com/about-us/\" target=\"_blank\" rel=\"noopener\">Theo Aytchan Williams\u003c/a> of SambaFunk!, OUSD educator Jasmene Miranda and jazz radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges\u003c/a>, to name a few. (Full disclosure: there’s even a portrait of me.)\u003c/p>\n\u003cfigure id=\"attachment_13925748\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-28-at-2.27.48-PM-800x1006.png\" alt=\"An illustration of a man with a healthy beard and big smile, with a yellow background and a thick red line running vertically over the face\" width=\"600\" height=\"802\" class=\"size-medium wp-image-13925748\">\u003cfigcaption class=\"wp-caption-text\">A portrait of long-running jazz DJ Greg Bridges is one of many featured in ‘Oakland’s Black Modern Arts Renaissance,’ on view near Oakland City Hall. \u003ccite>(Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the wall text explains, the yellow backgrounds of Smith’s portraits represent creativity, while the red line represents a shared African bloodline. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Look these people up and find out more about their work,” encouraged Smith, while explaining that creating these images is his way of giving a little love back to the community — and making sure others recognize their work as well.\u003c/p>\n\u003cfigure id=\"attachment_13925729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05124-800x535.jpg\" alt=\"Artists, educators and more gather to celebrate the opening reception of Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13925729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists, educators and more gather to celebrate the opening reception of Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oakland’s Black Modern Arts Renaissance’ is free and open to the public during business hours, through the month of March, at the City of Oakland building at 250 Frank Ogawa Plaza in Oakland. \u003ca href=\"https://www.instagram.com/shomari7382/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inside a lobby off Frank H. Ogawa Plaza in Oakland is a series of illustrations of educators and MCs, as well as photographers, poets and Black Panther Party members.\u003c/p>\n\u003cp>The portraits — all comprised of black jigsaw-puzzle-like images on top of yellow backgrounds with a vertical red line through the face — are a part of the \u003cem>Oakland’s Black Modern Arts Renaissance\u003c/em> exhibition by \u003ca href=\"https://www.instagram.com/shomari7382/\" target=\"_blank\" rel=\"noopener\">Shomari Smith\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13925728\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925728\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05106-800x535.jpg\" alt=\"Famed visual artist and Black Panther Party Newspaper illustrator Emory Douglas takes in Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05106.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Famed visual artist and Black Panther Party newspaper illustrator Emory Douglas takes in Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“These are all of my people,” said Smith, a visual artist and \u003ca href=\"https://www.kqed.org/arts/13924170/hieroglyphics-hobo-junction-battle-documentary\" target=\"_blank\" rel=\"noopener\">documentary filmmaker\u003c/a>, at an opening reception with guests, portrait subjects and Oakland Mayor Sheng Thao. “These are people who taught me, people I’ve worked with, people I admire and people I’ve been inspired by.”\u003c/p>\n\u003cp>The images include portraits of \u003ca href=\"http://www.theblackwomanisgod.com/artists/jtlewis\" target=\"_blank\" rel=\"noopener\">Joan Tarika Lewis\u003c/a>, the first woman to join the Black Panther Party, as well as \u003ca href=\"https://sambafunk.com/about-us/\" target=\"_blank\" rel=\"noopener\">Theo Aytchan Williams\u003c/a> of SambaFunk!, OUSD educator Jasmene Miranda and jazz radio show host \u003ca href=\"https://www.instagram.com/g1rhythm/\" target=\"_blank\" rel=\"noopener\">Greg Bridges\u003c/a>, to name a few. (Full disclosure: there’s even a portrait of me.)\u003c/p>\n\u003cfigure id=\"attachment_13925748\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Screen-Shot-2023-02-28-at-2.27.48-PM-800x1006.png\" alt=\"An illustration of a man with a healthy beard and big smile, with a yellow background and a thick red line running vertically over the face\" width=\"600\" height=\"802\" class=\"size-medium wp-image-13925748\">\u003cfigcaption class=\"wp-caption-text\">A portrait of long-running jazz DJ Greg Bridges is one of many featured in ‘Oakland’s Black Modern Arts Renaissance,’ on view near Oakland City Hall. \u003ccite>(Shomari Smith)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As the wall text explains, the yellow backgrounds of Smith’s portraits represent creativity, while the red line represents a shared African bloodline. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Look these people up and find out more about their work,” encouraged Smith, while explaining that creating these images is his way of giving a little love back to the community — and making sure others recognize their work as well.\u003c/p>\n\u003cfigure id=\"attachment_13925729\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/DSC05124-800x535.jpg\" alt=\"Artists, educators and more gather to celebrate the opening reception of Shomari Smith's Oakland's Black Modern Arts Renaissance exhibit.\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13925729\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/DSC05124.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artists, educators and more gather to celebrate the opening reception of Shomari Smith’s ‘Oakland’s Black Modern Arts Renaissance’ exhibit. \u003ccite>(Amir Aziz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Oakland’s Black Modern Arts Renaissance’ is free and open to the public during business hours, through the month of March, at the City of Oakland building at 250 Frank Ogawa Plaza in Oakland. \u003ca href=\"https://www.instagram.com/shomari7382/\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Thailand's Famous Gay Pink Milk Comes to Oakland",
"headTitle": "Thailand’s Famous Gay Pink Milk Comes to Oakland | KQED",
"content": "\u003cp>The menu at \u003ca href=\"https://www.instagram.com/dekdoicafe/\">Dek Doi Cafe\u003c/a>, the new Thai boba shop on Oakland’s Piedmont Avenue, begins with the expected taro and matcha, Thai tea and mango — the usual flavors in the usual order. But the end of the menu has a surprise: drinks called nom sod and nom chompuu, nom Milo and nom mocha, all in Thai sans translation.\u003c/p>\n\u003cp>Pary Phusawadrattana, a co-owner of the cafe who is manning the cashiers during its soft opening, tells me that this is a deliberate bait and switch. “Customers come in for milk tea, but they get curious about what is ‘nom,’ and they order it. We want to introduce people to Thai drinks, so we keep it on the menu.”\u003c/p>\n\u003cp>“Nom” means milk in Thai, and it’s served flavored and cooled by street vendors throughout Thailand. The most iconic flavor is the blindingly sweet nom chompuu, literally “pink milk,” which is colored by the addition of bright-red sala syrup, which is made with a kind of palm fruit. Other popular flavors include sod (plain), Milo (a malted chocolate drink similar to Ovaltine) and mocha (exactly what it sounds like).\u003c/p>\n\u003cp>I admit, I fell for Pary’s gambit and ordered the nom chompuu out of curiosity. I had vaguely heard of it before: I knew it as nom yen (“cold milk”), the name more often used in Bangkok, Thailand’s media capital. As a watcher of Thai BL (Boys’ Love) dramas — gay romantic television shows that have developed \u003ca href=\"https://time.com/6208817/thailand-bl-dramas-popularity/\">a huge following in Thailand\u003c/a> — I knew that \u003ca href=\"https://www.youtube.com/watch?v=zIvDMvO9Qjs&t=48s\">pink milk had become a meme among the genre’s overseas fans\u003c/a>, who are fascinated by the colorful drink the handsome protagonists tote around the streets of Bangkok.\u003c/p>\n\u003cp>https://twitter.com/perayuhhh/status/1272465135232114688\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pary served the drink to me in a tall boba glass. I was prepared for it to be sweet — anything that shade of neon pink would be — but it was so sugary that I felt a little lightheaded after a swig. Still, I loved it. The creaminess of the milk, the cold ice and the buzz of the sugar rush all sent me back to the strawberry milkshakes and lychee Calpicos of my childhood. Nom chompuu felt like one of the great South/Southeast Asian pink drinks I nostalgically love, up there with rooh afza, falooda and bandung.\u003c/p>\n\u003cp>Later on, I asked Wawa Maneewan — another co-owner of Dek Doi and the brains behind the menu — if the drink’s newfound subcultural popularity influenced her decision to serve it in her new cafe. Wawa said it had more to do with her background: “I’m from Chiang Mai,” she says, referring to the northern Thai city, “and I remember all the cafes that used to be there. That’s why I named the cafe Dek Doi, meaning ‘mountain child’ in Thai. I wanted to make a cafe just like the ones I grew up with.”\u003c/p>\n\u003cp>That’s why she makes it a point to include classic street food like nom chompuu and sweet roti, to represent her roots. The roti, a type of flaky pancake, might be more familiar to Americans as a savory appetizer in Thai restaurants. Dek Doi, however, serves the roti in its street food form, as a dessert topped with either coconut and corn or nutella and banana. It is delicately flaky and tender, much less dense than the frozen roti that you can find in freezer aisles. “The roti is the same one I serve in all my restaurants, except sweet,” Wawa explains. “I wanted to find something fresh, nothing frozen. I eventually found a Thai woman in Daly City who makes roti by hand — I call her Grandma, but she’s not my real grandma — and she makes thousands of them every week for me.”\u003c/p>\n\u003cfigure id=\"attachment_13925325\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925325\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Natera_DekDoiCafe_04.jpg\" alt=\"Close-up view of the cafe's sweet roti topped with coconut and corn.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Most Thai restaurants serve roti as a savory appetizer. At Dek Doi, it’s served as a sweet dessert. Here it’s topped with corn and coconut.\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe the most regional item on the menu is the “Chiang Mai Mocha,” a tribute to her city’s famous coffee industry. “I source the beans from my sister’s coffee fields in the Chiang Rai mountains,” Wawa says. “The beans are very aromatic, but the caffeine content is very small. That way you can have a lot more coffee without feeling bad!”\u003c/p>\n\u003cp>However, to make Dek Doi financially viable, Wawa and her partners added boba and milk tea to the menu. At Dek Doi, you can even add boba to traditional Thai pink milk if you really want to. To a Thai person, that might sound strange, but it’s part of an American trend born out of necessity. Here in the Bay Area, Asian food businesses often capitalize on the widespread recognition of boba to make more niche Asian desserts accessible. In that way, Dek Doi is just like Berkeley’s \u003ca href=\"https://www.kubobaspot.com/\">Kuboba\u003c/a>, which serves Filipino buko pandan mixed with tapioca pearls, or San Jose’s Soyful Desserts, which sells Japanese tofu pudding untraditionally topped with the same.\u003c/p>\n\u003cp>[aside postID='arts_13904913,arts_13915004,arts_13908947']Wawa says she’d rather put top-selling items on her menu than compromise on the quality. “I do this at my other restaurants [\u003ca href=\"https://www.wawathaifood.com/\">Wawa Thai\u003c/a> and \u003ca href=\"https://www.instagram.com/pladaek_thai/?hl=en\">Pla Daek\u003c/a> in Oakland] too. My restaurants are \u003ca href=\"https://eastbayexpress.com/home-plate/\">known for quality\u003c/a>, so we use only fresh ingredients. We want everything to be just as they serve it in Thailand.”\u003c/p>\n\u003cp>Wawa also wants to bring another aspect of a Thai cafe from Chiang Mai to Oakland: the street-side cafe’s role as a community hangout and social venue. Dek Doi is a joint venture between Wawa, Pary (who owns Grand Avenue Thai and Amarin Thai in Oakland), and Ook Papartassee (Neecha Thai), long-time friends who have decades of experience of running restaurants between them. There’s a communal spirit to the business — the day I stopped by, Pary had invited her husband to play the guitar for customers on a little stage at the back of the store, while she kept a watchful eye on her two daughters doing homework in the front.\u003c/p>\n\u003cp>“I want this to be a community space,” says Wawa. “It doesn’t matter if you have money, I want people to come by and ask for help. Maybe local musicians can come to the back and play for tips. I don’t know, but I want this to be a place for everyone.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Dek Doi Cafe is located at 4125 Piedmont Ave. in Oakland, in the Piedmont Alley complex. It will offer a limited soft opening menu until at least the end of February. \u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The menu at \u003ca href=\"https://www.instagram.com/dekdoicafe/\">Dek Doi Cafe\u003c/a>, the new Thai boba shop on Oakland’s Piedmont Avenue, begins with the expected taro and matcha, Thai tea and mango — the usual flavors in the usual order. But the end of the menu has a surprise: drinks called nom sod and nom chompuu, nom Milo and nom mocha, all in Thai sans translation.\u003c/p>\n\u003cp>Pary Phusawadrattana, a co-owner of the cafe who is manning the cashiers during its soft opening, tells me that this is a deliberate bait and switch. “Customers come in for milk tea, but they get curious about what is ‘nom,’ and they order it. We want to introduce people to Thai drinks, so we keep it on the menu.”\u003c/p>\n\u003cp>“Nom” means milk in Thai, and it’s served flavored and cooled by street vendors throughout Thailand. The most iconic flavor is the blindingly sweet nom chompuu, literally “pink milk,” which is colored by the addition of bright-red sala syrup, which is made with a kind of palm fruit. Other popular flavors include sod (plain), Milo (a malted chocolate drink similar to Ovaltine) and mocha (exactly what it sounds like).\u003c/p>\n\u003cp>I admit, I fell for Pary’s gambit and ordered the nom chompuu out of curiosity. I had vaguely heard of it before: I knew it as nom yen (“cold milk”), the name more often used in Bangkok, Thailand’s media capital. As a watcher of Thai BL (Boys’ Love) dramas — gay romantic television shows that have developed \u003ca href=\"https://time.com/6208817/thailand-bl-dramas-popularity/\">a huge following in Thailand\u003c/a> — I knew that \u003ca href=\"https://www.youtube.com/watch?v=zIvDMvO9Qjs&t=48s\">pink milk had become a meme among the genre’s overseas fans\u003c/a>, who are fascinated by the colorful drink the handsome protagonists tote around the streets of Bangkok.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pary served the drink to me in a tall boba glass. I was prepared for it to be sweet — anything that shade of neon pink would be — but it was so sugary that I felt a little lightheaded after a swig. Still, I loved it. The creaminess of the milk, the cold ice and the buzz of the sugar rush all sent me back to the strawberry milkshakes and lychee Calpicos of my childhood. Nom chompuu felt like one of the great South/Southeast Asian pink drinks I nostalgically love, up there with rooh afza, falooda and bandung.\u003c/p>\n\u003cp>Later on, I asked Wawa Maneewan — another co-owner of Dek Doi and the brains behind the menu — if the drink’s newfound subcultural popularity influenced her decision to serve it in her new cafe. Wawa said it had more to do with her background: “I’m from Chiang Mai,” she says, referring to the northern Thai city, “and I remember all the cafes that used to be there. That’s why I named the cafe Dek Doi, meaning ‘mountain child’ in Thai. I wanted to make a cafe just like the ones I grew up with.”\u003c/p>\n\u003cp>That’s why she makes it a point to include classic street food like nom chompuu and sweet roti, to represent her roots. The roti, a type of flaky pancake, might be more familiar to Americans as a savory appetizer in Thai restaurants. Dek Doi, however, serves the roti in its street food form, as a dessert topped with either coconut and corn or nutella and banana. It is delicately flaky and tender, much less dense than the frozen roti that you can find in freezer aisles. “The roti is the same one I serve in all my restaurants, except sweet,” Wawa explains. “I wanted to find something fresh, nothing frozen. I eventually found a Thai woman in Daly City who makes roti by hand — I call her Grandma, but she’s not my real grandma — and she makes thousands of them every week for me.”\u003c/p>\n\u003cfigure id=\"attachment_13925325\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13925325\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/Natera_DekDoiCafe_04.jpg\" alt=\"Close-up view of the cafe's sweet roti topped with coconut and corn.\" width=\"1920\" height=\"1282\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/Natera_DekDoiCafe_04-1536x1026.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Most Thai restaurants serve roti as a savory appetizer. At Dek Doi, it’s served as a sweet dessert. Here it’s topped with corn and coconut.\u003c/figcaption>\u003c/figure>\n\u003cp>Maybe the most regional item on the menu is the “Chiang Mai Mocha,” a tribute to her city’s famous coffee industry. “I source the beans from my sister’s coffee fields in the Chiang Rai mountains,” Wawa says. “The beans are very aromatic, but the caffeine content is very small. That way you can have a lot more coffee without feeling bad!”\u003c/p>\n\u003cp>However, to make Dek Doi financially viable, Wawa and her partners added boba and milk tea to the menu. At Dek Doi, you can even add boba to traditional Thai pink milk if you really want to. To a Thai person, that might sound strange, but it’s part of an American trend born out of necessity. Here in the Bay Area, Asian food businesses often capitalize on the widespread recognition of boba to make more niche Asian desserts accessible. In that way, Dek Doi is just like Berkeley’s \u003ca href=\"https://www.kubobaspot.com/\">Kuboba\u003c/a>, which serves Filipino buko pandan mixed with tapioca pearls, or San Jose’s Soyful Desserts, which sells Japanese tofu pudding untraditionally topped with the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wawa says she’d rather put top-selling items on her menu than compromise on the quality. “I do this at my other restaurants [\u003ca href=\"https://www.wawathaifood.com/\">Wawa Thai\u003c/a> and \u003ca href=\"https://www.instagram.com/pladaek_thai/?hl=en\">Pla Daek\u003c/a> in Oakland] too. My restaurants are \u003ca href=\"https://eastbayexpress.com/home-plate/\">known for quality\u003c/a>, so we use only fresh ingredients. We want everything to be just as they serve it in Thailand.”\u003c/p>\n\u003cp>Wawa also wants to bring another aspect of a Thai cafe from Chiang Mai to Oakland: the street-side cafe’s role as a community hangout and social venue. Dek Doi is a joint venture between Wawa, Pary (who owns Grand Avenue Thai and Amarin Thai in Oakland), and Ook Papartassee (Neecha Thai), long-time friends who have decades of experience of running restaurants between them. There’s a communal spirit to the business — the day I stopped by, Pary had invited her husband to play the guitar for customers on a little stage at the back of the store, while she kept a watchful eye on her two daughters doing homework in the front.\u003c/p>\n\u003cp>“I want this to be a community space,” says Wawa. “It doesn’t matter if you have money, I want people to come by and ask for help. Maybe local musicians can come to the back and play for tips. I don’t know, but I want this to be a place for everyone.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Dek Doi Cafe is located at 4125 Piedmont Ave. in Oakland, in the Piedmont Alley complex. It will offer a limited soft opening menu until at least the end of February. \u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland-born jazz trumpeter \u003ca href=\"https://www.ambroseakinmusire.com/\">Ambrose Akinmusire\u003c/a> received the second Grammy nomination of his career in November. It was for Best Improvised Jazz Solo, with the song “Rounds (Live)” on Terri Lynne Carrington’s pivotal \u003cem>\u003ca href=\"https://www.npr.org/2022/09/21/1124362063/terri-lyne-carrington-addresses-womens-omission-from-jazz-canon-with-new-standar\">New Standards, Vol. 1\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>But Akinmusire won’t be in Los Angeles on Feb. 5 for this year’s awards ceremony. Instead, the acclaimed musician will be in the Bay — where he’s based — paying tribute to his musical mentors, with a new residency Feb. 3–9 at SFJAZZ.\u003c/p>\n\u003cp>[aside label=\"Related Stories\" postID=\"arts_13887363\"]Described as possibly “the most distinctive, elusive and ultimately satisfying trumpeter of his generation,” by \u003ca href=\"https://www.nytimes.com/2018/10/10/arts/music/ambrose-akinmusire-origami-harvest-review.html\">the \u003ci>New York Times\u003c/i>\u003c/a>, Akinmusire is a master improviser whose original compositions blend influences beyond classical jazz, including poetry, blues and hip-hop. And while his talent and accomplishments regularly send him to venues all over the world, there’s still no place like home.\u003c/p>\n\u003cp>“I believe that Oakland, specifically, is sacred ground,” says Akinmusire. “I think it’s a place where you can come and replenish yourself. And that’s something that I see in the culture. It’s something I hear in the music. It’s something that I hear in the way we talk.”\u003c/p>\n\u003cp>The series of four performances will cap off his role as one of SFJAZZ’s 2022-23 resident artistic directors. “I told [SFJAZZ] I just wanted to find creative ways of saying ‘thank you.’ Showing gratitude,” says the musician of the opportunity.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Dm2eK__EbUw\u003c/p>\n\u003cp>He kicked off the role last March with a residency titled “Porter,” after his first jazz trumpet teacher, the late Robert Porter, and featured guest performances by some of the Bay Area musicians and mentors who shaped him as an artist, like bassist \u003ca href=\"https://www.kqed.org/arts/tag/marcus-shelby\">Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>“There was a lot of older cats that were here that mentored me that nobody knows of. Like \u003ca href=\"https://www.eastbaytimes.com/2005/02/06/local-jazz-great-ed-kelly-69-dies/\">Ed Kelly\u003c/a> or Robert Porter or \u003ca href=\"https://www.sfgate.com/music/article/Khalil-Shaheed-noted-jazz-trumpet-player-dies-3439622.php\">Khalil Shaheed\u003c/a> … a drummer named Hi Fi — all these old-school cats who were just around,” says Akinmusire, who played in the jazz ensemble at Berkeley High School. “And some of them were ex-Black Panthers and all these other things. But they played jazz and they were really instrumental in developing me and a lot of the younger musicians.”\u003c/p>\n\u003cp>The tribute to his musical heroes continues with this new run of performances, which will feature artists like drummer Thomas Pridgen, formerly of the group Mars Volta, and saxophonist Joshua Redman, a fellow Berkeley High alum.\u003c/p>\n\u003cp>Akinmusire will perform as part of a quartet, trio and duo at the SFJAZZ Center’s Miner Auditorium and then conclude with a solo performance at San Francisco’s Grace Cathedral, giving a cool “countdown” structure to the performances — 4, 3, 2, 1 — for which Akinmusire gives credit to outgoing SFJAZZ founder and executive artistic director Randall Kline.\u003c/p>\n\u003cp>For the duo performance, Akinmusire will be joined by legendary double bassist Ron Carter — which is a dream come true for the trumpeter. “At a young age, I wanted to — and I still want to — be Ron Carter. I want to grow up and have the integrity that he has. I mean everything he says, every note he plays has so much integrity and beauty in it,” says the musician, pointing out that Carter doesn’t typically perform with artists of Akinmusire’s generation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=86PPN1zVdZw\u003c/p>\n\u003cp>The final, solo performance at Grace Cathedral carries special meaning, says the musician, who notes that he recorded a solo album about a year and a half ago that has yet to be released.\u003c/p>\n\u003cp>“Playing solo has just been something that’s been in the back of my head,” he says. The appeal, he adds, is the beauty that lives in sitting with oneself — and that being enough.\u003c/p>\n\u003cp>“I think when you have a lot of technique and you can play almost everything that’s in your head, it’s hard to commit to beauty. It’s hard to not do the flashy stuff,” says Akinmusire. “So I wanted to do a solo project that is just about sitting in the center of the beauty. The center of self, which is, for me, beauty. And so that’s why I’m doing the Grace Cathedral [show].”\u003c/p>\n\u003cp>And that’s likely why so many music lovers will relish the opportunity to experience it with him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Ambrose Akinmusire performs nightly from Feb. 3–5 at the SFJAZZ Center and Feb. 9 at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=2.2023&series=50876\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Described as possibly “the most distinctive, elusive and ultimately satisfying trumpeter of his generation,” by \u003ca href=\"https://www.nytimes.com/2018/10/10/arts/music/ambrose-akinmusire-origami-harvest-review.html\">the \u003ci>New York Times\u003c/i>\u003c/a>, Akinmusire is a master improviser whose original compositions blend influences beyond classical jazz, including poetry, blues and hip-hop. And while his talent and accomplishments regularly send him to venues all over the world, there’s still no place like home.\u003c/p>\n\u003cp>“I believe that Oakland, specifically, is sacred ground,” says Akinmusire. “I think it’s a place where you can come and replenish yourself. And that’s something that I see in the culture. It’s something I hear in the music. It’s something that I hear in the way we talk.”\u003c/p>\n\u003cp>The series of four performances will cap off his role as one of SFJAZZ’s 2022-23 resident artistic directors. “I told [SFJAZZ] I just wanted to find creative ways of saying ‘thank you.’ Showing gratitude,” says the musician of the opportunity.\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/Dm2eK__EbUw'\n title='//www.youtube.com/embed/Dm2eK__EbUw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He kicked off the role last March with a residency titled “Porter,” after his first jazz trumpet teacher, the late Robert Porter, and featured guest performances by some of the Bay Area musicians and mentors who shaped him as an artist, like bassist \u003ca href=\"https://www.kqed.org/arts/tag/marcus-shelby\">Marcus Shelby\u003c/a>.\u003c/p>\n\u003cp>“There was a lot of older cats that were here that mentored me that nobody knows of. Like \u003ca href=\"https://www.eastbaytimes.com/2005/02/06/local-jazz-great-ed-kelly-69-dies/\">Ed Kelly\u003c/a> or Robert Porter or \u003ca href=\"https://www.sfgate.com/music/article/Khalil-Shaheed-noted-jazz-trumpet-player-dies-3439622.php\">Khalil Shaheed\u003c/a> … a drummer named Hi Fi — all these old-school cats who were just around,” says Akinmusire, who played in the jazz ensemble at Berkeley High School. “And some of them were ex-Black Panthers and all these other things. But they played jazz and they were really instrumental in developing me and a lot of the younger musicians.”\u003c/p>\n\u003cp>The tribute to his musical heroes continues with this new run of performances, which will feature artists like drummer Thomas Pridgen, formerly of the group Mars Volta, and saxophonist Joshua Redman, a fellow Berkeley High alum.\u003c/p>\n\u003cp>Akinmusire will perform as part of a quartet, trio and duo at the SFJAZZ Center’s Miner Auditorium and then conclude with a solo performance at San Francisco’s Grace Cathedral, giving a cool “countdown” structure to the performances — 4, 3, 2, 1 — for which Akinmusire gives credit to outgoing SFJAZZ founder and executive artistic director Randall Kline.\u003c/p>\n\u003cp>For the duo performance, Akinmusire will be joined by legendary double bassist Ron Carter — which is a dream come true for the trumpeter. “At a young age, I wanted to — and I still want to — be Ron Carter. I want to grow up and have the integrity that he has. I mean everything he says, every note he plays has so much integrity and beauty in it,” says the musician, pointing out that Carter doesn’t typically perform with artists of Akinmusire’s generation.\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/86PPN1zVdZw'\n title='//www.youtube.com/embed/86PPN1zVdZw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The final, solo performance at Grace Cathedral carries special meaning, says the musician, who notes that he recorded a solo album about a year and a half ago that has yet to be released.\u003c/p>\n\u003cp>“Playing solo has just been something that’s been in the back of my head,” he says. The appeal, he adds, is the beauty that lives in sitting with oneself — and that being enough.\u003c/p>\n\u003cp>“I think when you have a lot of technique and you can play almost everything that’s in your head, it’s hard to commit to beauty. It’s hard to not do the flashy stuff,” says Akinmusire. “So I wanted to do a solo project that is just about sitting in the center of the beauty. The center of self, which is, for me, beauty. And so that’s why I’m doing the Grace Cathedral [show].”\u003c/p>\n\u003cp>And that’s likely why so many music lovers will relish the opportunity to experience it with him.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003ci>Ambrose Akinmusire performs nightly from Feb. 3–5 at the SFJAZZ Center and Feb. 9 at Grace Cathedral in San Francisco. \u003ca href=\"https://www.sfjazz.org/calendar/?month=2.2023&series=50876\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cfigure id=\"attachment_13924281\" class=\"wp-caption alignnone\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13924281 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Anh-by-Andria-Lo-scaled.jpg\" alt=\"Anh Nguyen poses in a poppy orange long-sleeved tee and a stylish hat and boots, inside her restaurant Cam Anh.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-1366x2048.jpg 1366w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Anh Nguyen strikes a pose in a banh mi-themed shirt created by the nonprofit Cut Fruit Collective to raise funds for her Oakland Chinatown business Cam Anh. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To boost Oakland Chinatown restaurants struggling to survive the pandemic, Daphne Wu has helped raise tens of thousands of dollars through \u003ca href=\"https://www.gofundme.com/f/save-our-chinatowns\">emergency GoFundMe campaigns\u003c/a>, \u003ca href=\"https://www.cutfruitcollective.org/blogs/programs/pride-fortune-cookie-fundraiser\">fortune cookie bake sales\u003c/a> and the distribution of \u003ca href=\"https://sf.eater.com/2021/1/21/22241666/oakland-chinatown-save-our-chinatowns-lunar-new-year-fundraiser-zine-daphne-wu\">limited-edition zines\u003c/a>. Still, the co-founder of the Oakland-based nonprofit \u003ca href=\"https://www.cutfruitcollective.org/\">Cut Fruit Collective\u003c/a> says, recovery for the neighborhood has been slow.\u003c/span>\u003c/p>\n\u003cp>Now, just in time for Lunar New Year, Wu and her collaborators have put together their most stylish fundraising project yet: \u003ca href=\"https://www.cutfruitcollective.org/collections/lunar-new-year-2023\">a collection of swag\u003c/a> that includes a trucker hat, a tote bag and a banh mi–themed long-sleeved shirt. Each item features a longstanding Chinatown food business that will receive 100% of the profits from each sale.\u003c/p>\n\u003cp>Wu explains that most of Cut Fruit Collective’s past initiatives, extending back to when the group was called Save Our Chinatowns, were more akin to emergency relief funds or mutual aid. Inspired by the work of a New York City-based organization called \u003ca href=\"https://welcometochinatown.com/\">Welcome to Chinatown\u003c/a>, the new, auspiciously named Community Prosperity Collection was born out of the desire to co-create something with Chinatown merchants themselves.\u003c/p>\n\u003cp>As it turns out, Finnie Phung, the owner of Green Fish Seafood Market, had studied fashion design, so she worked with Cut Fruit Collective creative director Maya Kulkarni to design the collection’s Green Fish Seafood sweater and trucker hat. And both she and Cam Anh owner Anh Nguyen even helped model the merch.\u003c/p>\n\u003cfigure id=\"attachment_13924283\" class=\"wp-caption alignnone\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-scaled.jpg\" alt=\"Woman poses in a trucker hat and a green sweatshirt, both promoting her business, Green Fish Seafood Market.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-1366x2048.jpg 1366w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Green Fish Seafood owner Finnie Phong models a trucker hat and sweater that she co-created with the nonprofit Cut Fruit Collective. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, salvation rarely comes in the form of trucker hats alone. But the broader significance of the work of Oakland organizations like Cut Fruit Collective and \u003ca href=\"https://www.goodgoodeatz.com/\">Good Good Eatz\u003c/a> is the way they’re helping Chinatown stay relevant to younger generations of Asian Americans who are looking to connect, or reconnect, with their heritage. In the past, you wouldn’t have imagined that legacy Chinatown businesses, which have historically catered to an older, monolingual, first-generation immigrant customer base, would have hip, fashion-forward swag or a vibrant social media presence. Cut Fruit Collective’s mission, in a nutshell, is to help bridge that gap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Even if they didn’t grow up in neighborhoods like this, they feel that connection,” Wu says of the younger folks who, for instance, make up most of Cut Fruit Collective’s \u003ca href=\"https://www.instagram.com/cutfruitcollective/?hl=en\">Instagram\u003c/a> following. “These neighborhoods help them explore their identities. And we can introduce them to these neighborhood shops that they might not be as bold to venture out to.”\u003c/p>\n\u003cp>The organization’s name alludes to the practice — ubiquitous in many cultures throughout Asia and the Pacific Islands — of sharing cut fruit as an act of hospitality. “It’s a love language for our communities,” Wu says.\u003c/p>\n\u003cp>That model of community care will also be on display next weekend during a Lantern Festival celebration in Oakland Chinatown’s Pacific Renaissance Plaza that Cut Fruit Collective is co-sponsoring on Sunday, Feb. 5, marking the end of this year’s Lunar New Year festivities. More than that, Wu says, it’ll be an effort to get people excited again about going to Chinatown in the evening time, when business in the neighborhood continues to be extremely slow.\u003c/p>\n\u003cp>So, Wu and her colleagues thought, “Why not bring an Asian night market to Oakland Chinatown?”\u003c/p>\n\u003cp>[aside postID='arts_13923548,arts_13903133']To create a celebratory vibe, local design firm Civic Design Studio will light up the plaza with paper lanterns and other light installations. AAPI Healers for Liberation will organize workshops and community healing activities, in light of the tragic mass shootings in Monterey Park and Half Moon Bay earlier this week. And of course, since it’s a night market, there will be food — mostly courtesy of four vendors from \u003ca href=\"https://oaklandbloom.org/\">Oakland Bloom\u003c/a>, a kitchen incubator for \u003ca href=\"https://www.kqed.org/arts/13903133/oakland-bloom-understory-primas-corner-asukar-cuban-palestinian-pop-up\">immigrant and refugee chefs\u003c/a>.\u003c/p>\n\u003cp>The main focus, though, will be on encouraging customers to patronize Chinatown’s restaurants and other businesses. Toward that end, Cut Fruit Collective will create a scavenger hunt with prizes.\u003c/p>\n\u003cp>“It’s been so heavy for the past few years,” Wu says of the outlook and atmosphere in Chinatown. “We feel the Year of the Rabbit is the time to put forth a new vision.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Community Prosperity Collection merch is available for purchase via Cut Fruit Collective’s \u003ca href=\"https://www.cutfruitcollective.org/collections/lunar-new-year-2023\">website\u003c/a>. The Lantern Festival night market will take place on Sunday, Feb. 5. 3–8 p.m. at the Pacific Renaissance Plaza in Oakland Chinatown.\u003c/em>\u003c/p>\n\n",
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"title": "For Lunar New Year, an Oakland Nonprofit Is Giving Chinatown Businesses the Gift of Swag | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13924281\" class=\"wp-caption alignnone\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13924281 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Anh-by-Andria-Lo-scaled.jpg\" alt=\"Anh Nguyen poses in a poppy orange long-sleeved tee and a stylish hat and boots, inside her restaurant Cam Anh.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Anh-by-Andria-Lo-1366x2048.jpg 1366w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Anh Nguyen strikes a pose in a banh mi-themed shirt created by the nonprofit Cut Fruit Collective to raise funds for her Oakland Chinatown business Cam Anh. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">To boost Oakland Chinatown restaurants struggling to survive the pandemic, Daphne Wu has helped raise tens of thousands of dollars through \u003ca href=\"https://www.gofundme.com/f/save-our-chinatowns\">emergency GoFundMe campaigns\u003c/a>, \u003ca href=\"https://www.cutfruitcollective.org/blogs/programs/pride-fortune-cookie-fundraiser\">fortune cookie bake sales\u003c/a> and the distribution of \u003ca href=\"https://sf.eater.com/2021/1/21/22241666/oakland-chinatown-save-our-chinatowns-lunar-new-year-fundraiser-zine-daphne-wu\">limited-edition zines\u003c/a>. Still, the co-founder of the Oakland-based nonprofit \u003ca href=\"https://www.cutfruitcollective.org/\">Cut Fruit Collective\u003c/a> says, recovery for the neighborhood has been slow.\u003c/span>\u003c/p>\n\u003cp>Now, just in time for Lunar New Year, Wu and her collaborators have put together their most stylish fundraising project yet: \u003ca href=\"https://www.cutfruitcollective.org/collections/lunar-new-year-2023\">a collection of swag\u003c/a> that includes a trucker hat, a tote bag and a banh mi–themed long-sleeved shirt. Each item features a longstanding Chinatown food business that will receive 100% of the profits from each sale.\u003c/p>\n\u003cp>Wu explains that most of Cut Fruit Collective’s past initiatives, extending back to when the group was called Save Our Chinatowns, were more akin to emergency relief funds or mutual aid. Inspired by the work of a New York City-based organization called \u003ca href=\"https://welcometochinatown.com/\">Welcome to Chinatown\u003c/a>, the new, auspiciously named Community Prosperity Collection was born out of the desire to co-create something with Chinatown merchants themselves.\u003c/p>\n\u003cp>As it turns out, Finnie Phung, the owner of Green Fish Seafood Market, had studied fashion design, so she worked with Cut Fruit Collective creative director Maya Kulkarni to design the collection’s Green Fish Seafood sweater and trucker hat. And both she and Cam Anh owner Anh Nguyen even helped model the merch.\u003c/p>\n\u003cfigure id=\"attachment_13924283\" class=\"wp-caption alignnone\" style=\"max-width: 1708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13924283\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-scaled.jpg\" alt=\"Woman poses in a trucker hat and a green sweatshirt, both promoting her business, Green Fish Seafood Market.\" width=\"1708\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-scaled.jpg 1708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-800x1199.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-1020x1529.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-768x1151.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-1025x1536.jpg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/Finnie-by-Andria-Lo-1366x2048.jpg 1366w\" sizes=\"(max-width: 1708px) 100vw, 1708px\">\u003cfigcaption class=\"wp-caption-text\">Green Fish Seafood owner Finnie Phong models a trucker hat and sweater that she co-created with the nonprofit Cut Fruit Collective. \u003ccite>(Andria Lo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Needless to say, salvation rarely comes in the form of trucker hats alone. But the broader significance of the work of Oakland organizations like Cut Fruit Collective and \u003ca href=\"https://www.goodgoodeatz.com/\">Good Good Eatz\u003c/a> is the way they’re helping Chinatown stay relevant to younger generations of Asian Americans who are looking to connect, or reconnect, with their heritage. In the past, you wouldn’t have imagined that legacy Chinatown businesses, which have historically catered to an older, monolingual, first-generation immigrant customer base, would have hip, fashion-forward swag or a vibrant social media presence. Cut Fruit Collective’s mission, in a nutshell, is to help bridge that gap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Even if they didn’t grow up in neighborhoods like this, they feel that connection,” Wu says of the younger folks who, for instance, make up most of Cut Fruit Collective’s \u003ca href=\"https://www.instagram.com/cutfruitcollective/?hl=en\">Instagram\u003c/a> following. “These neighborhoods help them explore their identities. And we can introduce them to these neighborhood shops that they might not be as bold to venture out to.”\u003c/p>\n\u003cp>The organization’s name alludes to the practice — ubiquitous in many cultures throughout Asia and the Pacific Islands — of sharing cut fruit as an act of hospitality. “It’s a love language for our communities,” Wu says.\u003c/p>\n\u003cp>That model of community care will also be on display next weekend during a Lantern Festival celebration in Oakland Chinatown’s Pacific Renaissance Plaza that Cut Fruit Collective is co-sponsoring on Sunday, Feb. 5, marking the end of this year’s Lunar New Year festivities. More than that, Wu says, it’ll be an effort to get people excited again about going to Chinatown in the evening time, when business in the neighborhood continues to be extremely slow.\u003c/p>\n\u003cp>So, Wu and her colleagues thought, “Why not bring an Asian night market to Oakland Chinatown?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To create a celebratory vibe, local design firm Civic Design Studio will light up the plaza with paper lanterns and other light installations. AAPI Healers for Liberation will organize workshops and community healing activities, in light of the tragic mass shootings in Monterey Park and Half Moon Bay earlier this week. And of course, since it’s a night market, there will be food — mostly courtesy of four vendors from \u003ca href=\"https://oaklandbloom.org/\">Oakland Bloom\u003c/a>, a kitchen incubator for \u003ca href=\"https://www.kqed.org/arts/13903133/oakland-bloom-understory-primas-corner-asukar-cuban-palestinian-pop-up\">immigrant and refugee chefs\u003c/a>.\u003c/p>\n\u003cp>The main focus, though, will be on encouraging customers to patronize Chinatown’s restaurants and other businesses. Toward that end, Cut Fruit Collective will create a scavenger hunt with prizes.\u003c/p>\n\u003cp>“It’s been so heavy for the past few years,” Wu says of the outlook and atmosphere in Chinatown. “We feel the Year of the Rabbit is the time to put forth a new vision.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Community Prosperity Collection merch is available for purchase via Cut Fruit Collective’s \u003ca href=\"https://www.cutfruitcollective.org/collections/lunar-new-year-2023\">website\u003c/a>. The Lantern Festival night market will take place on Sunday, Feb. 5. 3–8 p.m. at the Pacific Renaissance Plaza in Oakland Chinatown.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "seiji-odas-anri-city-pop-003-celebrates-lunar-new-year-with-a-ride-through-japantown",
"title": "Seiji Oda Celebrates the Lunar New Year With a Ride Through Japantown",
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"headTitle": "Seiji Oda Celebrates the Lunar New Year With a Ride Through Japantown | KQED",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Of all the music genres associated with the Bay Area, \u003ca href=\"https://pitchfork.com/features/article/the-endless-life-cycle-of-japanese-city-pop/\">Japanese “city pop” might not be one that comes to mind for most. \u003c/a>Yet for Oakland rapper \u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a>, the internet-influenced style was the driving inspiration for his latest single, “ANRI (city pop 003).”\u003c/p>\n\u003cp>“The reason I started including [the city pop label] in my music was because I got into it and I loved it, and I wanted to share that with others,” he says. “City pop sounds to me like a combination of Bay slaps and tempo with an anime vibe.”\u003c/p>\n\u003cp>The emerging artist released his newest track — which pays homage to Anri, a Japanese vocalist whom he credits with introducing him to the genre — on Lunar New Year. Oda says he chose the day of Asian American celebration because it represents the heritage and traditions that have allowed him to become the artist he is today.\u003c/p>\n\u003cp>“It’s a way for me to show my appreciation for the culture, really,” he says. “Without that, I don’t have shit.”\u003c/p>\n\u003cp>https://youtu.be/v7h_QDXezKM\u003c/p>\n\u003cp>Having grown up reading manga and watching animes like \u003ci>Samurai Champloo\u003c/i> — \u003ca href=\"https://www.youtube.com/watch?v=Eq6EYcpWB_c\">famous for its Nujuabes-produced score\u003c/a> — Oda makes music with a soundscape that is at once familiar and fresh. His exposure to a variety of influences and flavors emerges naturally on the upbeat single, with references that range from Vietnamese sandwiches to Japanese singers from the ’80s: “Yeah I need my bread, baby, bánh mì, sliding through Japantown slappin’ Anri.”\u003c/p>\n\u003cp>Filmed in San Francisco’s Japantown, the video features Oda rocking an A’s dad hat while wandering around clothing shops like \u003ca href=\"https://www.instagram.com/chameleonvtg/?hl=en\">Chameleon Vintage\u003c/a>, dapping up his folks and rap-singing about childhood summers, family and remaining true to his roots: “I always do my own thing I never assimilate… I’m from the soil so you know I gotta innovate.”\u003c/p>\n\u003cp>The catchy hook, melodic delivery and hints of Japanese pop mixed with sprinkles of Bay Area funk are trademark textures for Oda, whose recent projects include \u003ca href=\"https://www.youtube.com/watch?v=yBJkcxcKYkM\">\u003ci>lofi // HYPHY\u003c/i>\u003c/a>. Oda credits local influences like P-Lo, HBK’s \u003ca href=\"https://www.instagram.com/azuresworld/?hl=en\">Azure\u003c/a>, \u003ca href=\"https://www.instagram.com/hokagesimon/?hl=en\">Hokage Simon\u003c/a> and \u003ca href=\"https://www.instagram.com/_futurejames/?hl=en\">Future James as multi-talented artists who are shaping the scene.\u003c/a>\u003c/p>\n\u003cp>“Asian Americans aren’t always seen as creative people. But it’s important for us to see we are setting that example and being outside the box and just doing what we want to do,” he says. “I’m also not trying to be anything other than myself. I’m just showing the regular-ness of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Seiji Oda’s EP ‘wading in shallow water’ is\u003c/em> \u003ca href=\"https://seijioda.bandcamp.com/album/wading-in-shallow-water\">\u003ci>available now\u003c/i>\u003c/a>\u003ci>. You can also catch him giving \u003c/i>\u003ca href=\"https://www.youtube.com/watch?v=sPkgBf6Mk8Y\">\u003ci>ramen tutorials on YouTube\u003c/i>\u003c/a>\u003ci>. For information about upcoming Lunar New Year events and resources for addressing anti-Asian hate, visit the \u003c/i>\u003ca href=\"https://ccsjsf.org/\">\u003ci>Coalition for Community Safety and Justice\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "'It’s a way for me to show my appreciation for the culture,' says the Oakland artist of his latest single.",
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"title": "Seiji Oda Celebrates the Lunar New Year With a Ride Through Japantown | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where KQED Arts & Culture brings you our favorite new tracks by Bay Area artists. \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">Check out past entries and submit a song for future coverage\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Of all the music genres associated with the Bay Area, \u003ca href=\"https://pitchfork.com/features/article/the-endless-life-cycle-of-japanese-city-pop/\">Japanese “city pop” might not be one that comes to mind for most. \u003c/a>Yet for Oakland rapper \u003ca href=\"https://www.instagram.com/seijioda/?hl=en\">Seiji Oda\u003c/a>, the internet-influenced style was the driving inspiration for his latest single, “ANRI (city pop 003).”\u003c/p>\n\u003cp>“The reason I started including [the city pop label] in my music was because I got into it and I loved it, and I wanted to share that with others,” he says. “City pop sounds to me like a combination of Bay slaps and tempo with an anime vibe.”\u003c/p>\n\u003cp>The emerging artist released his newest track — which pays homage to Anri, a Japanese vocalist whom he credits with introducing him to the genre — on Lunar New Year. Oda says he chose the day of Asian American celebration because it represents the heritage and traditions that have allowed him to become the artist he is today.\u003c/p>\n\u003cp>“It’s a way for me to show my appreciation for the culture, really,” he says. “Without that, I don’t have shit.”\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/v7h_QDXezKM'\n title='//www.youtube.com/embed/v7h_QDXezKM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Having grown up reading manga and watching animes like \u003ci>Samurai Champloo\u003c/i> — \u003ca href=\"https://www.youtube.com/watch?v=Eq6EYcpWB_c\">famous for its Nujuabes-produced score\u003c/a> — Oda makes music with a soundscape that is at once familiar and fresh. His exposure to a variety of influences and flavors emerges naturally on the upbeat single, with references that range from Vietnamese sandwiches to Japanese singers from the ’80s: “Yeah I need my bread, baby, bánh mì, sliding through Japantown slappin’ Anri.”\u003c/p>\n\u003cp>Filmed in San Francisco’s Japantown, the video features Oda rocking an A’s dad hat while wandering around clothing shops like \u003ca href=\"https://www.instagram.com/chameleonvtg/?hl=en\">Chameleon Vintage\u003c/a>, dapping up his folks and rap-singing about childhood summers, family and remaining true to his roots: “I always do my own thing I never assimilate… I’m from the soil so you know I gotta innovate.”\u003c/p>\n\u003cp>The catchy hook, melodic delivery and hints of Japanese pop mixed with sprinkles of Bay Area funk are trademark textures for Oda, whose recent projects include \u003ca href=\"https://www.youtube.com/watch?v=yBJkcxcKYkM\">\u003ci>lofi // HYPHY\u003c/i>\u003c/a>. Oda credits local influences like P-Lo, HBK’s \u003ca href=\"https://www.instagram.com/azuresworld/?hl=en\">Azure\u003c/a>, \u003ca href=\"https://www.instagram.com/hokagesimon/?hl=en\">Hokage Simon\u003c/a> and \u003ca href=\"https://www.instagram.com/_futurejames/?hl=en\">Future James as multi-talented artists who are shaping the scene.\u003c/a>\u003c/p>\n\u003cp>“Asian Americans aren’t always seen as creative people. But it’s important for us to see we are setting that example and being outside the box and just doing what we want to do,” he says. “I’m also not trying to be anything other than myself. I’m just showing the regular-ness of my life.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Seiji Oda’s EP ‘wading in shallow water’ is\u003c/em> \u003ca href=\"https://seijioda.bandcamp.com/album/wading-in-shallow-water\">\u003ci>available now\u003c/i>\u003c/a>\u003ci>. You can also catch him giving \u003c/i>\u003ca href=\"https://www.youtube.com/watch?v=sPkgBf6Mk8Y\">\u003ci>ramen tutorials on YouTube\u003c/i>\u003c/a>\u003ci>. For information about upcoming Lunar New Year events and resources for addressing anti-Asian hate, visit the \u003c/i>\u003ca href=\"https://ccsjsf.org/\">\u003ci>Coalition for Community Safety and Justice\u003c/i>\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">The first time I met Jocelyn Jackson, back in 2015, the chef and food activist Bryant Terry was emceeing an Oakland food event where he introduced the organization that Jackson co-founded — \u003ca href=\"http://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a> — as the Bay Area food movement’s “house band.” In other words, the group wasn’t always the headliner, but it often worked behind the scenes whenever there was an event or initiative at the intersection of food, art and social justice. One week Jackson and her collaborators might sling vegan tacos at an \u003ca href=\"https://eastbayexpress.com/luz-calvo-wants-to-decolonize-your-plate-2-1/\">anti-colonialist cookbook event\u003c/a>. Another week you’d find them in West Oakland giving away a \u003ca href=\"http://peopleskitchencollective.com/free-breakfast-program\">free hot breakfast\u003c/a> to anyone who wanted one. \u003c/span>\u003c/p>\n\u003cp>All of which is to say: Jackson has been deeply involved in the Bay Area food world for a long time. Or, as she says about the scene, “There is no stranger in this room. … We know each other. We’ve been there for each other — for years.”\u003c/p>\n\u003cp>So there’s some poetry to the fact that Jackson is now stepping into one of the Bay Area food movement’s most prominent, unique positions: At the start of this year, she became the \u003ca href=\"https://www.moadsf.org/\">Museum of the African Diaspora’s\u003c/a> second ever chef-in-residence — a role that Terry himself essentially created and held for seven years.\u003c/p>\n\u003cp>I spoke to Jackson by phone a couple of weeks into her new gig. Here are five things you can expect from the chef’s tenure at MoAD:\u003c/p>\n\u003ch2>\u003cb>1. MoAD’s chef-in-residence program will continue to be one of a kind. \u003c/b>\u003c/h2>\n\u003cp>If you’ve never heard of any other museum having a “chef-in-residence,” that’s because programs like MoAD’s, which focus on the ways that food, art and culture intersect in the Black diaspora, don’t really exist anywhere else — certainly not in such a comprehensive way. Jackson isn’t becoming the museum’s “chef” in the traditional sense of running a restaurant on its premises. Instead, like Terry before her, she’ll run a whole slate of food-related cultural programming all year round (more on the specifics of that programming in a minute).\u003c/p>\n\u003cfigure id=\"attachment_13923965\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/jocelynjackson_diasporadinner.jpg\" alt=\"Artistically arranged of food whose shape resembles the continent of Africa.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plate of food served by the People’s Kitchen Collective at one of MoAD’s Diaspora Dinners held in 2015. \u003ccite>(Fox Nakai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Museum of the African Diaspora is about reflecting the beauty and wholeness of our people,” Jackson says. “It would be remiss to overlook that food is part of our artistry — it’s part of the way that our people find survival and celebration.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s not static when you’re doing a chef-in-residence,” she continues. “It’s not just something that you simply attend. It’s something that you do. I love that.”\u003c/p>\n\u003ch2>\u003cb>2. Black women will be front and center.\u003c/b>\u003c/h2>\n\u003cp>The tagline for Jackson’s \u003ca href=\"https://www.instagram.com/justuskitchen/?hl=en\">Instagram page\u003c/a> reads, “healing food experiences for Blk womxn.” Providing those kinds of culturally specific experiences — at group retreats, one-on-one sessions and more — has been the main focus of the chef’s company, \u003ca href=\"http://www.justuskitchen.com/\">Justus Kitchen\u003c/a>. It makes sense, then, that under Jackson’s stewardship, MoAD’s chef-in-residence program would make the experiences of Black women an even bigger priority.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Jocelyn Jackson\"]“It would be remiss to overlook that food is part of our artistry — it’s part of the way that our people find survival and celebration.”[/pullquote]“It is front of mind in every choice,” Jackson says. “Within my own experience, it is essential to make choices from the perspective of Black womanhood in everything I do. When Black women get free, we all get free.”\u003c/p>\n\u003cp>Jackson says she isn’t quite ready to announce too many of the specifics in terms of how this focus will play out in terms of MoAD’s actual programming. But, just to cite one example, Jackson plans to continue the chef-in-residence program’s longstanding tradition of hosting “Diaspora Dinners” — big, celebratory meals at the museum, usually featuring a prominent guest chef. And this year the events will highlight two Black women in the food industry.\u003c/p>\n\u003cp>Jackson also has a partnership in the works with San Francisco’s \u003ca href=\"https://btwcsc.org/\">Booker T. Washington Community Service Center\u003c/a>, including what she describes as some “beautiful projects” with elders in the community. “Every elder is a library. I don’t want them to pass from this earth without sharing whatever they feel compelled to share with us,” Jackson says.\u003c/p>\n\u003cfigure id=\"attachment_13923968\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/blackfoodsummit_guests.jpg\" alt=\"Three smiling women dressed in all white sit at a table outdoors, awaiting the start of a meal.\" width=\"1920\" height=\"1081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-1536x865.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MoAD board member Jill Cowan and friends at the Black Food Summit, held in September of 2022. \u003ccite>(Tinashe Chidarikire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>3. The Black Food Summit will live on.\u003c/b>\u003c/h3>\n\u003cp>The capstone of Terry’s seven-year tenure at MoAD was the \u003ca href=\"https://www.kqed.org/arts/13918267/food-events-fall-2022\">Black Food Summit\u003c/a>, a gathering of amazing Black talent from all over the country, across all sectors of the food world — chefs, cookbook authors, photographers, food stylists and more — who came together for two days of workshops, rejuvenation and mutual support. The event was created to advance \u003ca href=\"https://www.kqed.org/arts/13900311/bryant-terry-four-color-books-imprint-food-media-diversity\">Terry’s vision of creating a pipeline\u003c/a> that would allow Black chefs, writers and artists to land the kinds of prestigious gigs that they’ve been shut out of historically.\u003c/p>\n\u003cp>Thankfully, the summit will live on. As Jackson notes, Terry himself will continue to have an advisory role at the museum, and “it makes all the sense in the world” for her to carry on the tradition that he started. Most likely, the first Black Food Summit under Jackson’s stewardship will happen sometime in 2024.\u003c/p>\n\u003ch2>\u003cb>4. Art and artists will get an even bigger spotlight during Jackson’s tenure. \u003c/b>\u003c/h2>\n\u003cp>[aside postID='arts_13900311,arts_13915489,arts_13900855']MoAD is, of course, a \u003ci>museum\u003c/i> first and foremost, and most visitors come to see the art. In that respect, Jackson makes for an ideal chef-in-residence: She’s a practicing artist herself, known for exploring both food and social justice in her work. A notable recent example: an art installation in which Jackson imagined the “\u003ca href=\"http://www.justuskitchen.com/fixed-price-menu\">fixed price menu\u003c/a>” of a meal that Philando Castile and Jeronimo Yanez — the Minnesota police officer who shot and killed Castile in 2016 — might have shared.\u003c/p>\n\u003cp>For that piece, part of Ava DuVernay’s \u003ca href=\"https://www.leapaction.org/\">Law Enforcement Accountability Project\u003c/a> (LEAP), Jackson says, “I was doing quilting. I was doing writing. I was doing sculpture. I could say in that moment, ‘I’ve been training for decades for this.’ As an attorney, as an environmental educator, as an artist — it’s like I got these credentials on purpose in reverse.”\u003c/p>\n\u003cp>The same could be said for Jackson’s new role as MoAD’s chef-in-residence. If anything, she says, her own art background means she’ll place even more of a focus on collaborating with the artists whose work is being featured at the museum, whether that be in terms of new art installations or conversations in which the artists talk about the food connections in their work.\u003c/p>\n\u003cfigure id=\"attachment_13923970\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13923970 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/blackfoodsummit_plate.jpg\" alt=\"An abundant plate of food, including greens, beans and mac and cheese.\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dinner at the Black Food Summit. \u003ccite>(Tinashe Chidarikire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>5. Social justice will be the focus of everything she does at the museum.\u003c/b>\u003c/h2>\n\u003cp>It’s not lost on Jackson that she’s stepping into the role at a political moment when it’s become clear, as she puts it, that the long-term changes many hoped for during the widespread protests against police violence in 2020 haven’t really happened. “There was a boomerang effect, and lasting change has not occurred,” she says.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Jocelyn Jackson\"]“Artists are first responders. Anyone in this industry of art has that shared responsibility.”[/pullquote]At the same time, Jackson says that her position at MoAD is something of an oasis. “I get to luxuriate in the environment of an organization that’s made by and for Black folks. I get to be calm and peaceful and authentic within that space.”\u003c/p>\n\u003cp>She recognizes that the art world at large isn’t like that. It wasn’t lost on her that the viral incident a couple of weeks ago in which a \u003ca href=\"https://www.sfgate.com/food/article/san-francisco-man-sprays-woman-17708160.php\">San Francisco gallery owner sprayed an unhoused woman with a hose\u003c/a> was also a reflection of the art world.\u003c/p>\n\u003cp>So how can an institution like MoAD play a role in changing that? “How do we present ourselves as warriors for justice? Artists are first responders,” Jackson says, referencing the term \u003ca href=\"https://www.artistasfirstresponder.com/\">coined by Oakland-based artist Ashara Ekundayo\u003c/a>. “Anyone in this industry of art has that shared responsibility.”\u003c/p>\n\u003cp>For Jackson, that mindset has to inform all of her chef-in-residence programming. “There’s nothing that isn’t related to social justice,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Jocelyn Jackson’s first public event as MoAD’s chef-in-residence will be a \u003ca href=\"https://www.moadsf.org/event/chef-in-residence-presents-two-black-cooks-in-the-kitchen-a-celebration-of-bryant-terry-and-welcome-to-jocelyn-jackson\">conversation with Bryant Terry\u003c/a>, her predecessor in the role. The free event will take place at the museum (685 Mission St. in San Francisco) on Feb. 11 at 2 p.m.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The first time I met Jocelyn Jackson, back in 2015, the chef and food activist Bryant Terry was emceeing an Oakland food event where he introduced the organization that Jackson co-founded — \u003ca href=\"http://peopleskitchencollective.com/\">People’s Kitchen Collective\u003c/a> — as the Bay Area food movement’s “house band.” In other words, the group wasn’t always the headliner, but it often worked behind the scenes whenever there was an event or initiative at the intersection of food, art and social justice. One week Jackson and her collaborators might sling vegan tacos at an \u003ca href=\"https://eastbayexpress.com/luz-calvo-wants-to-decolonize-your-plate-2-1/\">anti-colonialist cookbook event\u003c/a>. Another week you’d find them in West Oakland giving away a \u003ca href=\"http://peopleskitchencollective.com/free-breakfast-program\">free hot breakfast\u003c/a> to anyone who wanted one. \u003c/span>\u003c/p>\n\u003cp>All of which is to say: Jackson has been deeply involved in the Bay Area food world for a long time. Or, as she says about the scene, “There is no stranger in this room. … We know each other. We’ve been there for each other — for years.”\u003c/p>\n\u003cp>So there’s some poetry to the fact that Jackson is now stepping into one of the Bay Area food movement’s most prominent, unique positions: At the start of this year, she became the \u003ca href=\"https://www.moadsf.org/\">Museum of the African Diaspora’s\u003c/a> second ever chef-in-residence — a role that Terry himself essentially created and held for seven years.\u003c/p>\n\u003cp>I spoke to Jackson by phone a couple of weeks into her new gig. Here are five things you can expect from the chef’s tenure at MoAD:\u003c/p>\n\u003ch2>\u003cb>1. MoAD’s chef-in-residence program will continue to be one of a kind. \u003c/b>\u003c/h2>\n\u003cp>If you’ve never heard of any other museum having a “chef-in-residence,” that’s because programs like MoAD’s, which focus on the ways that food, art and culture intersect in the Black diaspora, don’t really exist anywhere else — certainly not in such a comprehensive way. Jackson isn’t becoming the museum’s “chef” in the traditional sense of running a restaurant on its premises. Instead, like Terry before her, she’ll run a whole slate of food-related cultural programming all year round (more on the specifics of that programming in a minute).\u003c/p>\n\u003cfigure id=\"attachment_13923965\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923965\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/jocelynjackson_diasporadinner.jpg\" alt=\"Artistically arranged of food whose shape resembles the continent of Africa.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/jocelynjackson_diasporadinner-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A plate of food served by the People’s Kitchen Collective at one of MoAD’s Diaspora Dinners held in 2015. \u003ccite>(Fox Nakai)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The Museum of the African Diaspora is about reflecting the beauty and wholeness of our people,” Jackson says. “It would be remiss to overlook that food is part of our artistry — it’s part of the way that our people find survival and celebration.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s not static when you’re doing a chef-in-residence,” she continues. “It’s not just something that you simply attend. It’s something that you do. I love that.”\u003c/p>\n\u003ch2>\u003cb>2. Black women will be front and center.\u003c/b>\u003c/h2>\n\u003cp>The tagline for Jackson’s \u003ca href=\"https://www.instagram.com/justuskitchen/?hl=en\">Instagram page\u003c/a> reads, “healing food experiences for Blk womxn.” Providing those kinds of culturally specific experiences — at group retreats, one-on-one sessions and more — has been the main focus of the chef’s company, \u003ca href=\"http://www.justuskitchen.com/\">Justus Kitchen\u003c/a>. It makes sense, then, that under Jackson’s stewardship, MoAD’s chef-in-residence program would make the experiences of Black women an even bigger priority.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It is front of mind in every choice,” Jackson says. “Within my own experience, it is essential to make choices from the perspective of Black womanhood in everything I do. When Black women get free, we all get free.”\u003c/p>\n\u003cp>Jackson says she isn’t quite ready to announce too many of the specifics in terms of how this focus will play out in terms of MoAD’s actual programming. But, just to cite one example, Jackson plans to continue the chef-in-residence program’s longstanding tradition of hosting “Diaspora Dinners” — big, celebratory meals at the museum, usually featuring a prominent guest chef. And this year the events will highlight two Black women in the food industry.\u003c/p>\n\u003cp>Jackson also has a partnership in the works with San Francisco’s \u003ca href=\"https://btwcsc.org/\">Booker T. Washington Community Service Center\u003c/a>, including what she describes as some “beautiful projects” with elders in the community. “Every elder is a library. I don’t want them to pass from this earth without sharing whatever they feel compelled to share with us,” Jackson says.\u003c/p>\n\u003cfigure id=\"attachment_13923968\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13923968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/blackfoodsummit_guests.jpg\" alt=\"Three smiling women dressed in all white sit at a table outdoors, awaiting the start of a meal.\" width=\"1920\" height=\"1081\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_guests-1536x865.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">MoAD board member Jill Cowan and friends at the Black Food Summit, held in September of 2022. \u003ccite>(Tinashe Chidarikire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cb>3. The Black Food Summit will live on.\u003c/b>\u003c/h3>\n\u003cp>The capstone of Terry’s seven-year tenure at MoAD was the \u003ca href=\"https://www.kqed.org/arts/13918267/food-events-fall-2022\">Black Food Summit\u003c/a>, a gathering of amazing Black talent from all over the country, across all sectors of the food world — chefs, cookbook authors, photographers, food stylists and more — who came together for two days of workshops, rejuvenation and mutual support. The event was created to advance \u003ca href=\"https://www.kqed.org/arts/13900311/bryant-terry-four-color-books-imprint-food-media-diversity\">Terry’s vision of creating a pipeline\u003c/a> that would allow Black chefs, writers and artists to land the kinds of prestigious gigs that they’ve been shut out of historically.\u003c/p>\n\u003cp>Thankfully, the summit will live on. As Jackson notes, Terry himself will continue to have an advisory role at the museum, and “it makes all the sense in the world” for her to carry on the tradition that he started. Most likely, the first Black Food Summit under Jackson’s stewardship will happen sometime in 2024.\u003c/p>\n\u003ch2>\u003cb>4. Art and artists will get an even bigger spotlight during Jackson’s tenure. \u003c/b>\u003c/h2>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>MoAD is, of course, a \u003ci>museum\u003c/i> first and foremost, and most visitors come to see the art. In that respect, Jackson makes for an ideal chef-in-residence: She’s a practicing artist herself, known for exploring both food and social justice in her work. A notable recent example: an art installation in which Jackson imagined the “\u003ca href=\"http://www.justuskitchen.com/fixed-price-menu\">fixed price menu\u003c/a>” of a meal that Philando Castile and Jeronimo Yanez — the Minnesota police officer who shot and killed Castile in 2016 — might have shared.\u003c/p>\n\u003cp>For that piece, part of Ava DuVernay’s \u003ca href=\"https://www.leapaction.org/\">Law Enforcement Accountability Project\u003c/a> (LEAP), Jackson says, “I was doing quilting. I was doing writing. I was doing sculpture. I could say in that moment, ‘I’ve been training for decades for this.’ As an attorney, as an environmental educator, as an artist — it’s like I got these credentials on purpose in reverse.”\u003c/p>\n\u003cp>The same could be said for Jackson’s new role as MoAD’s chef-in-residence. If anything, she says, her own art background means she’ll place even more of a focus on collaborating with the artists whose work is being featured at the museum, whether that be in terms of new art installations or conversations in which the artists talk about the food connections in their work.\u003c/p>\n\u003cfigure id=\"attachment_13923970\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13923970 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/blackfoodsummit_plate.jpg\" alt=\"An abundant plate of food, including greens, beans and mac and cheese.\" width=\"1920\" height=\"2400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/blackfoodsummit_plate-1638x2048.jpg 1638w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Dinner at the Black Food Summit. \u003ccite>(Tinashe Chidarikire)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cb>5. Social justice will be the focus of everything she does at the museum.\u003c/b>\u003c/h2>\n\u003cp>It’s not lost on Jackson that she’s stepping into the role at a political moment when it’s become clear, as she puts it, that the long-term changes many hoped for during the widespread protests against police violence in 2020 haven’t really happened. “There was a boomerang effect, and lasting change has not occurred,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“Artists are first responders. Anyone in this industry of art has that shared responsibility.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the same time, Jackson says that her position at MoAD is something of an oasis. “I get to luxuriate in the environment of an organization that’s made by and for Black folks. I get to be calm and peaceful and authentic within that space.”\u003c/p>\n\u003cp>She recognizes that the art world at large isn’t like that. It wasn’t lost on her that the viral incident a couple of weeks ago in which a \u003ca href=\"https://www.sfgate.com/food/article/san-francisco-man-sprays-woman-17708160.php\">San Francisco gallery owner sprayed an unhoused woman with a hose\u003c/a> was also a reflection of the art world.\u003c/p>\n\u003cp>So how can an institution like MoAD play a role in changing that? “How do we present ourselves as warriors for justice? Artists are first responders,” Jackson says, referencing the term \u003ca href=\"https://www.artistasfirstresponder.com/\">coined by Oakland-based artist Ashara Ekundayo\u003c/a>. “Anyone in this industry of art has that shared responsibility.”\u003c/p>\n\u003cp>For Jackson, that mindset has to inform all of her chef-in-residence programming. “There’s nothing that isn’t related to social justice,” she says.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>Jocelyn Jackson’s first public event as MoAD’s chef-in-residence will be a \u003ca href=\"https://www.moadsf.org/event/chef-in-residence-presents-two-black-cooks-in-the-kitchen-a-celebration-of-bryant-terry-and-welcome-to-jocelyn-jackson\">conversation with Bryant Terry\u003c/a>, her predecessor in the role. The free event will take place at the museum (685 Mission St. in San Francisco) on Feb. 11 at 2 p.m.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Power Rangers-Inspired Ramen Shop Is Mastering the Art of Kick-Ass Noodles",
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"content": "\u003cp>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/p>\n\u003cp>If you scan ramen threads on Reddit or Twitter, you’ll find the occasional hater who claims that the Bay Area’s ramen “sucks” or is “overrated” (particularly when compared to LA’s offerings). I don’t \u003ci>completely\u003c/i> disagree with those statements. Many times I’ve been told about a top ramen joint in NorCal only to be underwhelmed by spaghetti-like noodles or an odd ratio of toppings that overpower the actual ramen.\u003c/p>\n\u003cp>Occasionally, though, I’ll find a spot here that reminds me of the top-tier ramen I experienced during a trip to Tokyo, where each brothy spoonful delivered a soulful warmth that transcended any language barrier.\u003c/p>\n\u003cp>That’s exactly the kind of good vibe I found at \u003ca href=\"https://nokaramen.com/\">Noka Ramen\u003c/a> in Oakland’s Jack London Square. You may recall the restaurant going viral last fall, when its staff stopped a man from assaulting a woman inside the dining room — \u003ca href=\"https://twitter.com/ppirapokin/status/1581147164591329280\">while dressed up as Power Rangers\u003c/a>. As the story made the rounds on social media, it also brought attention to the eatery’s flamboyant staff and quirky decor. The establishment’s most essential element — its actual ramen — was given a well-deserved signal boost, too. They haven’t held back any punches since then.\u003c/p>\n\u003cp>Since it opened in the summer of 2022, Noka has been serving up some of the tastiest (and spiciest) ramen in the East Bay. The colorful shop has mastered the art of flavorful presentation, with its stylish Power Ranger–themed tiki drinks, anime playing in the background and over-the-top menu items like the Ikari Steak Ramen, which features slow–cooked beef rib confit, creamy spicy miso and a splash of 151 rum that’s been lit on fire ($36).\u003c/p>\n\u003cfigure id=\"attachment_13923844\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/noka_uniform-800x533.jpg\" alt=\"an employee at Noka Ramen wears his uniform while serving a customer\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A server at Noka Ramen embodies the restaurant’s stylish vibe. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for me, it’s the simpler ramen dishes that keep me coming back for more. The spicy miso ramen, in particular, is one of the fiercest broths I’ve found in the Bay and packs more than enough heat (hack: order the shishito pepper appetizer and mix some of its spicy sauce into your bowl for an extra kick).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What helps Noka stand out from the competition is the vision of Pop-Kasem Saengsawang, the creative owner of a local Thai restaurant mini-empire that includes \u003ca href=\"https://www.instagram.com/thaifarmhouse/?hl=en\">Farmhouse Kitchen\u003c/a>, \u003ca href=\"https://www.instagram.com/sonandgarden/?hl=en\">Son & Garden\u003c/a> and \u003ca href=\"https://www.instagram.com/daughterthaikitchen/?hl=en\">Daughter Thai Kitchen\u003c/a>. With the help of Kenichi Ota, the consultant and teacher behind the Los Angeles-based \u003ca href=\"https://www.ramenschoolusa.com/\">Ramen School USA\u003c/a>, Saengsawang is now adding his own spin to the ramen circuit.\u003c/p>\n\u003cp>Here’s what the two collaborators and friends had to say about serving noodles on the docks of the Frisco Bay.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>ALAN CHAZARO: You both grew up in Asia before immigrating to California. What brought you here, and what has been your experience with the U.S. food industry?\u003c/b>\u003c/p>\n\u003cp>\u003cb>POP-KASEM SAENGSAWANG: \u003c/b>I’m originally from Thailand. I moved to the States with the hope of becoming Bill Gates (laughs). I was a computer scientist and moved here to continue my studies. During college, I had to start working and learn how to live on my own. I worked in a kitchen and served as a manager for six years and fell in love with food. I opened my first restaurant back then, but only nine months later it closed down (laughs). I was 26 years old. It was a Japanese sushi restaurant. My chef taught me a lot about raw fish, sauces and to care about the traditions. It was all new to me. One day my chef didn’t show up, and I realized that I didn’t understand it well enough, that I needed to learn more. Eventually I opened Farmhouse Kitchen. It was fun. My wife [Ing Kumo] and I enjoyed that, because it was totally us.\u003c/p>\n\u003cp>\u003cb>KENICHI OTA: \u003c/b>I came 18 years ago and started working at a Japanese grocery shop in San Jose. I eventually opened a ramen shop of my own, but I had some issues at the time and had to return to Japan, so I closed it down. Five years ago, after I returned, I wanted to enter the ramen market, but nobody was making the sort of ramen that I wanted to make. I decided that I could help others who wanted to learn how to make ramen. I thought, let’s try to support the restaurants who have a passion for Japanese food and products and who want to learn to make it. That’s when I started to do consulting and teaching.\u003c/p>\n\u003cp>\u003cb>Why did you decide to open Noka? Why ramen?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>After the pandemic, I learned a lot about comfort food and what people wanted. I was always dreaming about a noodle bar for so long. I grew up in Thailand, [where] the two key ingredients are rice and noodles. I had time to learn and study during [the pandemic]. I went to different noodle shops, tried to get a feel, talked to the chefs. But I didn’t have the answers until I found Ken. The way he taught me is to jump in and make it your own experience. I feel like it’s something that I really enjoyed and could adapt and turn into my own recipes. With his knowledge and help, we created a beautiful broth and chewy noodles. I didn’t want my ramen shop to feel like traditional ramen, so I added lobster, short ribs, those kinds of things to the menu. I didn’t want to mix with Thai or anything else, though. I wanted it to be Japanese ramen. Over many months, Ken returned to check the recipe and make it better. I’m super grateful for him.\u003c/p>\n\u003cp>\u003cb>OTA: \u003c/b>For Japanese people, ramen is an important part of food. I started making ramen about 14 years ago. I was working at the grocery store and making ramen there. I was working with ramen chefs to make it and started going to outside events and pop-ups as well. People think ramen is just general. But it’s a whole process with many varieties and styles. It’s about details and careful directions, but the whole process is enjoyable. It’s not stressful for me. Making ramen is simply fun.\u003c/p>\n\u003cfigure id=\"attachment_13923843\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/noka_spicy-800x1200.jpg\" alt=\"a bowl of spicy miso ramen, with spicy ground pork, egg, corn and more\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Spicy Miso Ramen (spicy ground pork, chili paste, bamboo shoot, corn, egg, thin noodles) is a personal favorite for this writer. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Where did the whole Power Rangers concept come from?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>The Power Rangers idea is about having fun, first of all. It’s also a good look. I grew up with Japanese cosplay, so I really enjoy the Power Rangers. The Power Rangers don’t have just one guy or person — it’s a team. That was our goal. Then my wife, Ing Kumo, created the Power Ranger cocktail. When we bring it out, the server might do the Power Ranger move (chops the air). We might as well wear it and have fun. For our shyest servers, they become different people when they wear it. Customers can’t see you. It changed the way they walked from when they would dress regularly. It just brings a unique experience to everyone — customers and workers. At first everyone laughed and didn’t want to wear it. But now they love to pick their colors each week: pink, black, green, white.\u003c/p>\n\u003cp>\u003cb>Noka Ramen \u003c/b>\u003ca href=\"https://twitter.com/ppirapokin/status/1581147164591329280\">\u003cb>went viral last year\u003c/b>\u003c/a>\u003cb> after an incident involving staff members dressed as Power Rangers — when your employees helped to end a physical altercation in public. How did you all deal with that and in what ways did it affect the community?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>The first couple of days I told everyone I don’t want to say that we were heroes. I don’t want to twist it since we weren’t really sure what was going on with the gentleman and lady who were fighting in our restaurant. Our goal is to protect our customers, always. The cosplay heroes were the story that day by coincidence. My manager pushed the guy out of the restaurant. It’s difficult because we don’t expect our staff to fight like that. It’s dangerous. There is one instance in San Francisco where a worker was stabbed because they ran after a customer who didn’t pay. I told everyone that we didn’t want to celebrate or share what happened because it’s a tricky situation. When \u003ca href=\"https://sf.eater.com/2022/10/18/23411764/noka-ramen-power-rangers-oakland\">the media came\u003c/a>, I didn’t want to put my workers in the spotlight. What if the man came back and tried to attack my workers? So we focused on what we serve, how we value the customers.\u003c/p>\n\u003cp>[pullquote size=\"large\" align=\"right\" citation=\"Pop-Kasem Saengsawang\"]“Our goal is to protect our customers, always. It’s difficult because we don’t expect our staff to fight like that. It’s dangerous. … So we focused on what we serve, how we value the customers.”[/pullquote]We went to court as witnesses, and we had to make sure the woman who was attacked got the support she needed. We hired a lawyer to make sure that one of our employees wasn’t involved [with any charges]. We were just trying to protect ourselves and everyone. That guy who attacked went to other locations nearby; he was also at Plank, and the police were involved there and arrested him. We don’t want our employees to be in those situations, but we appreciate the community that keeps supporting us because they feel like it was a heroic thing. It turned out positive. In Oakland, we have many people who are protecting the community and making sure no one gets hurt here in this city.\u003c/p>\n\u003cp>\u003cb>That incident brought a lot of positive attention to Noka and put it on many people’s radars as a ramen destination. What are your thoughts on the ramen scene in the Bay Area, and what is Noka doing differently, besides dressing up as Power Rangers, to stand out?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OTA: \u003c/b>There is high-quality ramen in San Francisco, and there is a huge market in the Bay Area. It’s competitive for the United States. Noka is joining that market later, so Pop and I talked about concepts. We don’t need to only follow the exact authentic recipes. It’s not our goal. Our goal is to have ramen lovers come back; maybe they’re new to ramen. We focused on the mix of American people here and what we could do to make them like Noka. That’s how we approached it.\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>To my understanding, when people experience something and they enjoy it, they want to return because they liked it, whether it’s traditional or non-traditional. Some people grew up with ramen being cooked at home by mom. Noka Ramen can’t recreate that. Noka Ramen is about bringing a fun new experience. Ramen is about joy and we try our best to represent that feeling. Of course, we can’t replicate the most traditional. It can’t ever be exactly like home-cooked ramen. There are too many factors. So we focus on providing a good experience with noodles with love and joy. That’s the concept.\u003c/p>\n\u003cp>We don’t like to compare ourselves with others. Every ramen [shop] has their own unique story of making ramen. Some restaurants here are owned by Koreans, so they add kimchi. Some are Chinese-owned and have catfish or ingredients mixed from Chinese culture. That’s great. The generations that grew up with mixed cultures can adapt and adventure easier. But I told Ken that I wanted Noka to be Japanese without any Thai [influence].\u003c/p>\n\u003cfigure id=\"attachment_13923845\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923845\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/noka_sign-800x1200.jpg\" alt='a neon \"Noka\" sign hangs in front of the restaurant at night' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noka, which is the Thai owner’s ode to Japanese cosplay and culinary traditions, translates into “farmhouse.” \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the secret to making good ramen?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OTA: \u003c/b>My teaching program is about making everything from scratch and using premium ingredients. Everything from scratch, including appetizers and other dishes. Lots of people use [pre-made] concentrated stuff, and the broth isn’t as good. Or [they use] cheap ingredients. We use so many steps to make our ramen that it’s almost too much to follow (laughs).\u003c/p>\n\u003cp>[aside postID='arts_13922141,arts_13898743,arts_13908798']\u003cb>SAENGSAWANG: \u003c/b>We probably use about 40 pounds of bones or more in each batch of our broth, and it takes about six hours just to make the broth. Ken brought his technique to Noka, which is the high-pressure machine. We use that, too. Ken imported that from Japan. Traditional style uses an open-faced pot, but this high-pressure pot pushes all the ingredients into water and makes it super creamy. That makes it different and isn’t a common technique here. Ken’s [noodle] recipe is really unique. It’s high-end flour imported from Japan. I also purchased a noodle machine from Japan. Everything is written in Japanese and I can’t read it (laughs). Google Translate didn’t help. Ken came in and showed us the steps and how to operate it.\u003c/p>\n\u003cp>I thought you could just buy noodles and put it in a broth (laughs). Not at all. It’s all worth it though. I want our customers to eat with love. That’s our goal.\u003c/p>\n\u003cp>\u003cb>Besides Noka, where is your favorite place to get ramen in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>My spot to go for ramen is Nagi Ramen in San Mateo.\u003c/p>\n\u003cp>\u003cb>OTA: \u003c/b>Yes, Nagi is good. Very unique ramen. They come from Japan. I enjoy it. But also I have to say: Go Noka!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://nokaramen.com/\">\u003ci>Noka Ramen\u003c/i>\u003c/a>\u003ci> is open Mon. through Fri. from 11 a.m.–2 pm and 5–9 p.m., and Sat. and Sun. from noon–3 p.m. and 5–9 p.m. The restaurant is located at 90 Franklin St. in Oakland.\u003c/i>\u003c/p>\n\n",
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"title": "A Power Rangers-Inspired Ramen Shop Is Mastering the Art of Kick-Ass Noodles | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/p>\n\u003cp>If you scan ramen threads on Reddit or Twitter, you’ll find the occasional hater who claims that the Bay Area’s ramen “sucks” or is “overrated” (particularly when compared to LA’s offerings). I don’t \u003ci>completely\u003c/i> disagree with those statements. Many times I’ve been told about a top ramen joint in NorCal only to be underwhelmed by spaghetti-like noodles or an odd ratio of toppings that overpower the actual ramen.\u003c/p>\n\u003cp>Occasionally, though, I’ll find a spot here that reminds me of the top-tier ramen I experienced during a trip to Tokyo, where each brothy spoonful delivered a soulful warmth that transcended any language barrier.\u003c/p>\n\u003cp>That’s exactly the kind of good vibe I found at \u003ca href=\"https://nokaramen.com/\">Noka Ramen\u003c/a> in Oakland’s Jack London Square. You may recall the restaurant going viral last fall, when its staff stopped a man from assaulting a woman inside the dining room — \u003ca href=\"https://twitter.com/ppirapokin/status/1581147164591329280\">while dressed up as Power Rangers\u003c/a>. As the story made the rounds on social media, it also brought attention to the eatery’s flamboyant staff and quirky decor. The establishment’s most essential element — its actual ramen — was given a well-deserved signal boost, too. They haven’t held back any punches since then.\u003c/p>\n\u003cp>Since it opened in the summer of 2022, Noka has been serving up some of the tastiest (and spiciest) ramen in the East Bay. The colorful shop has mastered the art of flavorful presentation, with its stylish Power Ranger–themed tiki drinks, anime playing in the background and over-the-top menu items like the Ikari Steak Ramen, which features slow–cooked beef rib confit, creamy spicy miso and a splash of 151 rum that’s been lit on fire ($36).\u003c/p>\n\u003cfigure id=\"attachment_13923844\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923844\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/noka_uniform-800x533.jpg\" alt=\"an employee at Noka Ramen wears his uniform while serving a customer\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_uniform.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A server at Noka Ramen embodies the restaurant’s stylish vibe. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But for me, it’s the simpler ramen dishes that keep me coming back for more. The spicy miso ramen, in particular, is one of the fiercest broths I’ve found in the Bay and packs more than enough heat (hack: order the shishito pepper appetizer and mix some of its spicy sauce into your bowl for an extra kick).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What helps Noka stand out from the competition is the vision of Pop-Kasem Saengsawang, the creative owner of a local Thai restaurant mini-empire that includes \u003ca href=\"https://www.instagram.com/thaifarmhouse/?hl=en\">Farmhouse Kitchen\u003c/a>, \u003ca href=\"https://www.instagram.com/sonandgarden/?hl=en\">Son & Garden\u003c/a> and \u003ca href=\"https://www.instagram.com/daughterthaikitchen/?hl=en\">Daughter Thai Kitchen\u003c/a>. With the help of Kenichi Ota, the consultant and teacher behind the Los Angeles-based \u003ca href=\"https://www.ramenschoolusa.com/\">Ramen School USA\u003c/a>, Saengsawang is now adding his own spin to the ramen circuit.\u003c/p>\n\u003cp>Here’s what the two collaborators and friends had to say about serving noodles on the docks of the Frisco Bay.\u003c/p>\n\u003cp>\u003ci>This interview has been edited for length and clarity.\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003ci>********\u003c/i>\u003c/p>\n\u003cp>\u003cb>ALAN CHAZARO: You both grew up in Asia before immigrating to California. What brought you here, and what has been your experience with the U.S. food industry?\u003c/b>\u003c/p>\n\u003cp>\u003cb>POP-KASEM SAENGSAWANG: \u003c/b>I’m originally from Thailand. I moved to the States with the hope of becoming Bill Gates (laughs). I was a computer scientist and moved here to continue my studies. During college, I had to start working and learn how to live on my own. I worked in a kitchen and served as a manager for six years and fell in love with food. I opened my first restaurant back then, but only nine months later it closed down (laughs). I was 26 years old. It was a Japanese sushi restaurant. My chef taught me a lot about raw fish, sauces and to care about the traditions. It was all new to me. One day my chef didn’t show up, and I realized that I didn’t understand it well enough, that I needed to learn more. Eventually I opened Farmhouse Kitchen. It was fun. My wife [Ing Kumo] and I enjoyed that, because it was totally us.\u003c/p>\n\u003cp>\u003cb>KENICHI OTA: \u003c/b>I came 18 years ago and started working at a Japanese grocery shop in San Jose. I eventually opened a ramen shop of my own, but I had some issues at the time and had to return to Japan, so I closed it down. Five years ago, after I returned, I wanted to enter the ramen market, but nobody was making the sort of ramen that I wanted to make. I decided that I could help others who wanted to learn how to make ramen. I thought, let’s try to support the restaurants who have a passion for Japanese food and products and who want to learn to make it. That’s when I started to do consulting and teaching.\u003c/p>\n\u003cp>\u003cb>Why did you decide to open Noka? Why ramen?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>After the pandemic, I learned a lot about comfort food and what people wanted. I was always dreaming about a noodle bar for so long. I grew up in Thailand, [where] the two key ingredients are rice and noodles. I had time to learn and study during [the pandemic]. I went to different noodle shops, tried to get a feel, talked to the chefs. But I didn’t have the answers until I found Ken. The way he taught me is to jump in and make it your own experience. I feel like it’s something that I really enjoyed and could adapt and turn into my own recipes. With his knowledge and help, we created a beautiful broth and chewy noodles. I didn’t want my ramen shop to feel like traditional ramen, so I added lobster, short ribs, those kinds of things to the menu. I didn’t want to mix with Thai or anything else, though. I wanted it to be Japanese ramen. Over many months, Ken returned to check the recipe and make it better. I’m super grateful for him.\u003c/p>\n\u003cp>\u003cb>OTA: \u003c/b>For Japanese people, ramen is an important part of food. I started making ramen about 14 years ago. I was working at the grocery store and making ramen there. I was working with ramen chefs to make it and started going to outside events and pop-ups as well. People think ramen is just general. But it’s a whole process with many varieties and styles. It’s about details and careful directions, but the whole process is enjoyable. It’s not stressful for me. Making ramen is simply fun.\u003c/p>\n\u003cfigure id=\"attachment_13923843\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923843\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/noka_spicy-800x1200.jpg\" alt=\"a bowl of spicy miso ramen, with spicy ground pork, egg, corn and more\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_spicy-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Spicy Miso Ramen (spicy ground pork, chili paste, bamboo shoot, corn, egg, thin noodles) is a personal favorite for this writer. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Where did the whole Power Rangers concept come from?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>The Power Rangers idea is about having fun, first of all. It’s also a good look. I grew up with Japanese cosplay, so I really enjoy the Power Rangers. The Power Rangers don’t have just one guy or person — it’s a team. That was our goal. Then my wife, Ing Kumo, created the Power Ranger cocktail. When we bring it out, the server might do the Power Ranger move (chops the air). We might as well wear it and have fun. For our shyest servers, they become different people when they wear it. Customers can’t see you. It changed the way they walked from when they would dress regularly. It just brings a unique experience to everyone — customers and workers. At first everyone laughed and didn’t want to wear it. But now they love to pick their colors each week: pink, black, green, white.\u003c/p>\n\u003cp>\u003cb>Noka Ramen \u003c/b>\u003ca href=\"https://twitter.com/ppirapokin/status/1581147164591329280\">\u003cb>went viral last year\u003c/b>\u003c/a>\u003cb> after an incident involving staff members dressed as Power Rangers — when your employees helped to end a physical altercation in public. How did you all deal with that and in what ways did it affect the community?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>The first couple of days I told everyone I don’t want to say that we were heroes. I don’t want to twist it since we weren’t really sure what was going on with the gentleman and lady who were fighting in our restaurant. Our goal is to protect our customers, always. The cosplay heroes were the story that day by coincidence. My manager pushed the guy out of the restaurant. It’s difficult because we don’t expect our staff to fight like that. It’s dangerous. There is one instance in San Francisco where a worker was stabbed because they ran after a customer who didn’t pay. I told everyone that we didn’t want to celebrate or share what happened because it’s a tricky situation. When \u003ca href=\"https://sf.eater.com/2022/10/18/23411764/noka-ramen-power-rangers-oakland\">the media came\u003c/a>, I didn’t want to put my workers in the spotlight. What if the man came back and tried to attack my workers? So we focused on what we serve, how we value the customers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "“Our goal is to protect our customers, always. It’s difficult because we don’t expect our staff to fight like that. It’s dangerous. … So we focused on what we serve, how we value the customers.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We went to court as witnesses, and we had to make sure the woman who was attacked got the support she needed. We hired a lawyer to make sure that one of our employees wasn’t involved [with any charges]. We were just trying to protect ourselves and everyone. That guy who attacked went to other locations nearby; he was also at Plank, and the police were involved there and arrested him. We don’t want our employees to be in those situations, but we appreciate the community that keeps supporting us because they feel like it was a heroic thing. It turned out positive. In Oakland, we have many people who are protecting the community and making sure no one gets hurt here in this city.\u003c/p>\n\u003cp>\u003cb>That incident brought a lot of positive attention to Noka and put it on many people’s radars as a ramen destination. What are your thoughts on the ramen scene in the Bay Area, and what is Noka doing differently, besides dressing up as Power Rangers, to stand out?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OTA: \u003c/b>There is high-quality ramen in San Francisco, and there is a huge market in the Bay Area. It’s competitive for the United States. Noka is joining that market later, so Pop and I talked about concepts. We don’t need to only follow the exact authentic recipes. It’s not our goal. Our goal is to have ramen lovers come back; maybe they’re new to ramen. We focused on the mix of American people here and what we could do to make them like Noka. That’s how we approached it.\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>To my understanding, when people experience something and they enjoy it, they want to return because they liked it, whether it’s traditional or non-traditional. Some people grew up with ramen being cooked at home by mom. Noka Ramen can’t recreate that. Noka Ramen is about bringing a fun new experience. Ramen is about joy and we try our best to represent that feeling. Of course, we can’t replicate the most traditional. It can’t ever be exactly like home-cooked ramen. There are too many factors. So we focus on providing a good experience with noodles with love and joy. That’s the concept.\u003c/p>\n\u003cp>We don’t like to compare ourselves with others. Every ramen [shop] has their own unique story of making ramen. Some restaurants here are owned by Koreans, so they add kimchi. Some are Chinese-owned and have catfish or ingredients mixed from Chinese culture. That’s great. The generations that grew up with mixed cultures can adapt and adventure easier. But I told Ken that I wanted Noka to be Japanese without any Thai [influence].\u003c/p>\n\u003cfigure id=\"attachment_13923845\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13923845\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/01/noka_sign-800x1200.jpg\" alt='a neon \"Noka\" sign hangs in front of the restaurant at night' width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/01/noka_sign-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Noka, which is the Thai owner’s ode to Japanese cosplay and culinary traditions, translates into “farmhouse.” \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What’s the secret to making good ramen?\u003c/b>\u003c/p>\n\u003cp>\u003cb>OTA: \u003c/b>My teaching program is about making everything from scratch and using premium ingredients. Everything from scratch, including appetizers and other dishes. Lots of people use [pre-made] concentrated stuff, and the broth isn’t as good. Or [they use] cheap ingredients. We use so many steps to make our ramen that it’s almost too much to follow (laughs).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cb>SAENGSAWANG: \u003c/b>We probably use about 40 pounds of bones or more in each batch of our broth, and it takes about six hours just to make the broth. Ken brought his technique to Noka, which is the high-pressure machine. We use that, too. Ken imported that from Japan. Traditional style uses an open-faced pot, but this high-pressure pot pushes all the ingredients into water and makes it super creamy. That makes it different and isn’t a common technique here. Ken’s [noodle] recipe is really unique. It’s high-end flour imported from Japan. I also purchased a noodle machine from Japan. Everything is written in Japanese and I can’t read it (laughs). Google Translate didn’t help. Ken came in and showed us the steps and how to operate it.\u003c/p>\n\u003cp>I thought you could just buy noodles and put it in a broth (laughs). Not at all. It’s all worth it though. I want our customers to eat with love. That’s our goal.\u003c/p>\n\u003cp>\u003cb>Besides Noka, where is your favorite place to get ramen in the Bay Area?\u003c/b>\u003c/p>\n\u003cp>\u003cb>SAENGSAWANG: \u003c/b>My spot to go for ramen is Nagi Ramen in San Mateo.\u003c/p>\n\u003cp>\u003cb>OTA: \u003c/b>Yes, Nagi is good. Very unique ramen. They come from Japan. I enjoy it. But also I have to say: Go Noka!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12904247 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://nokaramen.com/\">\u003ci>Noka Ramen\u003c/i>\u003c/a>\u003ci> is open Mon. through Fri. from 11 a.m.–2 pm and 5–9 p.m., and Sat. and Sun. from noon–3 p.m. and 5–9 p.m. The restaurant is located at 90 Franklin St. in Oakland.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Best Of Reel Talk: Filmmakers Jon & Alba",
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"content": "\u003cp>\u003cem>This episode was originally part of the \u003c/em>\u003cem>\u003ca href=\"https://www.kqed.org/arts/13893541/reel-talk-filmmaking-in-the-bay-area-rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Reel Talk: Filmmaking in the Bay Area… Rightnowish \u003c/a>\u003c/em>\u003cem>series from 2021. We’re revisiting it as a part of our 2023 kickoff series highlighting some of the best stories from our archives.\u003c/em>\u003c/p>\n\u003cp>San Francisco State graduates \u003ca href=\"https://www.instagram.com/albogold/\" target=\"_blank\" rel=\"noopener noreferrer\">Alba Roland Mejia\u003c/a> and \u003ca href=\"https://www.instagram.com/jonharrisonsb/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Warfield Harrison\u003c/a> are in the early stages of their careers as filmmakers, but their work is already being supported by the likes of \u003ca href=\"https://www.instagram.com/j0in_the_m0vement_c0aliti0n/\" target=\"_blank\" rel=\"noopener noreferrer\">Join The Movement Coalition\u003c/a>, \u003ca href=\"https://www.instagram.com/oaklandish/\" target=\"_blank\" rel=\"noopener noreferrer\">Oaklandish,\u003c/a> Marshawn Lynch’s \u003ca href=\"https://www.instagram.com/beastmodestore/\" target=\"_blank\" rel=\"noopener noreferrer\">Beastmode\u003c/a>, and \u003ca href=\"https://www.instagram.com/p/CLXSVvPHyNL/?utm_source=ig_web_copy_link\" target=\"_blank\" rel=\"noopener noreferrer\">Kodak\u003c/a>.\u003c/p>\n\u003cp>Alba and Jon have released a handful of short films which are artistic, a bit experimental, and occasionally include a dash of science fiction.\u003c/p>\n\u003cp>https://vimeo.com/449524937\u003c/p>\n\u003cp>Their first collaboration, \u003ca href=\"https://www.myownmeccafilm.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem> My Own Mecca\u003c/em>\u003c/a>, looks at a day in the life of a young man at a crossroads, learning to navigate relationships, rent and the world around him. They’re also the force behind \u003ca href=\"https://vimeo.com/509851626\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Blackness is Everything\u003c/em>\u003c/a>, an experimental film that features the faces and talents of some pretty well-known Bay Area-based Black artists. The short film, made possible with the support of \u003ca href=\"https://www.baycat.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BAYCAT\u003c/a>, debuted in February of 2021.\u003c/p>\n\u003cp>https://vimeo.com/509851626\u003c/p>\n\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive. Evidently, this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly, and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2980931986&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you, capturing this story and like ingraining it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like you’re wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. What I didn’t know was that he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. It was just beautiful to see like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But behind the scenes is the real story: Alba and Jon have come together to create a working relationship that’s balanced and productive. Evidently, this workflow rubs off on the people around them.\u003c/p>\n\u003cp>In this episode, we discuss how the filmmakers work together to build suspense in their stories, pray to film gods that their scenes are captured correctly, and collaborate with the community to create cinema.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm/?e=KQINC2980931986&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Alba Roland Mejia and Jon Warfield Harrison.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: What was the first piece that you two collaborated on?\u003c/em>\u003c/p>\n\u003cp>Jon: We did My Own Mecca together…\u003c/p>\n\u003cp>Alba: Basically it’s a day in the life of a young Black man in the Bay Area… how he understands who he is in his reality. It’s about the microaggressions that we don’t really talk about too much. It’s about the issues that we have within our household or within our friendships. And being in situations in which we’re supposed to feel safe and we don’t.\u003c/p>\n\u003cp>\u003cem>Pen: How do you make those moments so big and intense? Like, I’m nervous and squeamish watching ’em. How did you do that?\u003c/em>\u003c/p>\n\u003cp>Alba: [The two characters] have this tendency to battle for dominance. And there’s these subtle digs that they do with each other in order to determine who is in control of the conversation, even though they’re both friends and they both genuinely love each other.\u003c/p>\n\u003cp>Jon: If you’re just talking to somebody or in a tense situation… It’s hard to maintain that eye contact because you feel that intensity. And I feel like through the film, we’re able to really capture those moments of the glare that they have towards each other. But through the editing, we’re able to let it sit there for a few seconds and you really absorb that intensity.\u003c/p>\n\u003cp>\u003cem>Pen: Jon, why did you feel pulled to shoot on film?\u003c/em>\u003c/p>\n\u003cp>Jon: Just the fact that celluloid is like a physical thing you can hold in your hand… when it’s in the camera, it’s physically capturing that light onto it. So it’s truly there in that moment with you and it’s never going to be the same. So it’s almost like a living organism with you, capturing this story and like ingraining it physically in this earth. Through the years, it’s been getting better and better for darker skin tones as well.\u003c/p>\n\u003cp>Alba: He said it was like a living organism… I hadn’t experienced it before. When the camera is on and rolling, you can hear it breathing as if it was like a heartbeat right next to your face.\u003c/p>\n\u003cp>\u003cem>Pen: How does it feel to have a tag team partner as a director and a cinematographer… do you feel like you’re wide receiver and quarterback? Are you coach and offensive coordinator?\u003c/em>\u003c/p>\n\u003cp>Alba: I wouldn’t even say it’s like a quarterback and a receiver, I would say it’s like a tag team wrestling match. We both got a common goal and we take turns and we know each other’s strengths.\u003c/p>\n\u003cp>Alba: For example, this most recent project that we’re working on, \u003cem>Blackness is Everything\u003c/em>, there was something that I kind of just threw at them, like, oh, I want to shoot slow motion on film in black and white. What I didn’t know was that he did the research to make sure that he knew before coming to set how many stops the lighting needs to be to be in slow motion and in black and white, because all these things matter, all these little details matter. Something I didn’t realize. I just know what I wanted it to feel like. And John knows how to make it happen.\u003c/p>\n\u003cp>\u003cem>Pen: Was there a moment that stands out to you like that just extremely fun, chaotic thing that happened on either of the sets that you worked on together?\u003c/em>\u003c/p>\n\u003cp>Alba: Our first day of shooting My Own Mecca, we had about 30 folks and we’re in West Oakland. It’s a big group of people. So naturally, the whole community, one by one, would come out to us… stop the whole production, ask what we’re doing, introduce themselves, tell us about their life. I love that. It did stop production quite a bit, but I loved how interested and open and receptive they were to us.\u003c/p>\n\u003cp>Jon: Some of those people who came up, they ended up staying in the background of the film. And I remember I was just sitting back there, hands on my hips, watching everything. It was just beautiful to see like a collaboration between like 25 different humans, and then all these people in the background we didn’t even really know, just coming together to make a movie in Oakland.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"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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"politicalbreakdown": {
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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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},
"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": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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