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"content": "\u003cp>Nenna Joiner owns Feelmore, a queer-friendly sex toy shop with locations in Berkeley and Oakland. Noticing the lack of Black queer spaces beyond the monthly “RnB nights” at many local clubs, they decided to open the Feelmore Social Club in Downtown Oakland, a bar slated to open in 2022. “This energy that they feel in Feelmore is akin to the energy that they’re going to feel here,” Joiner assures, “We want to be open a long time.”\u003c/p>\n\u003cp>In the final episode of “Searching for a Kiki”, Joiner speaks about re-imagining the Black queer space, and the role of the Black queer dollar in the community.\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=KQINC1281318740\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Nenna Joiner. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio Rose:\u003c/strong> So you came [to the Bay Area in 1994], what were you looking for when you came here?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna Joiner:\u003c/strong> I was looking for people and culture. Las Vegas didn’t have it at the time, but Oakland definitely had it. The stories that came out of here with rap music, with the Black Panthers, just with everything was going on, even HIV and AIDS actually… to hear their officials responding to this national crisis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> And so once you moved here and you started to discover the Bay Area nightlife… what did you find? What did you experience?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Well, I started riding the AC transit and I went into places they told you not to go. Because in Vegas, I lived in those places that they told us not to go. And so I was like, ‘Oh, that’s nothing!’… Finding the queer spaces, which were at the time Bellas and Cables Reef… You could go to San Francisco and get the the white queer crowds, or you can go to Oakland and you can get all the Black that you wanted to. It was just beautiful.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> I’m hurting. I moved to the Bay in August, and I have not gotten yet to experience a Black queer-owned bar, but there is a difference.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Mm-Hmm.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> And you feel that difference. What does it feel like once you’re in a space and you know that you are centered in the experience?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> I didn’t have to watch my back. You know, my feelings were protected. Everyone was there to have fun, to live the next day to celebrate life. And a lot of those people in those clubs, because they were much older than me, lost a lot of people because of AIDS… so really celebrating life was key, like it was like night and day. You can go in the club, come out the club, and feel a different way.\u003c/p>\n\u003cp>It started to change when downtown Oakland started to change. When they started to rename the neighborhoods, when they started to bring different businesses in and you were able to call the police and say, ‘Hey, there’s a commotion, end their liquor license’. Or they would have a stain against them with the city, which would ultimately lead them to fight to keep their business open, versus the stories of other businesses that didn’t have to go through that same experience.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio (narration):\u003c/strong> Bars and lounges that held the community down for years — Club 21, Diva’s, Club BnB, Este Noche and so many others were forced to close their doors for good. Gentrification wasn’t the only thing stacked against these bars. As tech forced Black queer people away from the city, they turned to apps to find each other. This meant the bars were no longer the oases they’d once been — you don’t need to go to a bar if you can order a man online — which brings us to today. Where you’re hard pressed to find a queer bar owned by a Black person. No tea no shade, there are a few gay bars in Oakland. I can count them on one hand, but that’s not a lot of options.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Oakland. Oakland ain’t got no gay clubs, you know what I mean? You know that queer people ain’t gonna go spend all the money. You know lesbians, as soon as we get in a relationship, we ain’t going nowhere. We staying home, and that’s just in the first week after we met at the club. And so you don’t want to pigeonhole yourself and to say that this is a gay club because the dollars that come along with that are very few, then saying we’re very accepting of everyone. But being a queer business owner, I do key in ways to encourage those that look like me: being brown and being queer.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> You already had the Feelmore in Berkeley and Oakland? What made you want to open a bar during the pandemic?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Honey, let me tell you — it was lonely selling sex toys in downtown Oakland. Not many things were open. Not anything was open. Maybe the bodega across the street, but nothing else. I can remember a couple of times that I cried outside. I wasn’t crying because I didn’t have customers, that wasn’t the problem, I was crying because there is a culture that comes with protection when you have more than one business that’s open on the street. You want to make sure that you have this shared reason to keep your door open, that you’re open at the same hours. And that wasn’t happening. Bars were closing and not just closing their doors for the meantime, they were closing for the long term.\u003c/p>\n\u003cp>And I said, I think it’s time that we take this opportunity to turn it into something because someone else is going to come into that space. Why not us? And I think in a bar space, just as we’ve done with the sex shop, we’ve been very intentional and respectful in supporting people. [Because] we want to be open for a long time.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> I wanted to explore the role of sobriety within the queer community. How do you see your responsibility as a bar owner?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> That’s what it’s about: Making sure that people don’t have to go to another room to experience life. That they can experience life with everyone. It’s also about people who want to be at a bar experience without having to be forced upon, ‘Oh, why aren’t you drinking?’ Like, no, I get to have the same kind of fun. You’re having just less alcohol or no alcohol.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio: \u003c/strong>How does the experience of opening the Feelmore Social club compare to when you started your first business?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> I started at the Ashby Bart station, selling out the trunk of my car on the street corners. I wanted to start this business. And I was going to use the rap music I listened to when I first started learning about Oakland to infuse in me that you can start this out in the trunk of your car. Like, look at all these rappers like E-40. I’ve never met him. But he started out the trunk of his car in Vallejo. Now look at him. We can do this with the little bit of what we have.\u003c/p>\n\u003cp>When I first started Feelmore, I started with my own money. I would call all these places and look for someone to rent to me. I got about 50 no’s, and a woman picked up the phone one day, she was like, ‘Don’t you know who I am?’ ‘I don’t know who you are. Like you a white lady.’ And she says, ‘Well, I’m Joani Blank. I actually started good vibrations.’ And so she and I became friends. That was somebody who said, “I’ll invest in you.” She invested in Feelmore.\u003c/p>\n\u003cp>Getting money is not easy. Not on your first business. Especially if you’re brown and queer. What does that mean? Do you get met with that every day? No, you don’t get met with that challenge. But the historical nature of it is that people will look at you as “not bankable.” [You’re fighting the stereotypes of] what kind of business can brown people do? They can do hair. They can clean up somebody’s home. You have to be very adamant about what you want to do — you’re going to have to show that you’ve done it in your own life with little bit of money. I won’t say my bank’s name, but I’ve had to like, lay in and be like, ‘Look, I feel that you’re not respecting me. You’re not taking me seriously’ like having to go to history lessons with banks like? I’ve had to do that because I’m fighting. I’m fighting against knowing that you just gave a million dollars to someone else, knowing that you just showed up at the planning commission to support another client. But you can’t even show up for me, and I’ve been with you for over 13 years. And reminding them.\u003c/p>\n\u003cp>But also what has been in my favor is the same people who were at the bank when I started, are the same people who are at the bank now. Those relationships really matter. So I tell any entrepreneur out there, do not go big, don’t go to Wells Fargo. Don’t go to Chase — unless you don’t SBA loan — go to small businesses, small banks who have been there and also find out how long their people have been there. It’s people who actually push that pen and push that paper and get you to the finish line.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> Where do you draw your inspiration from and how do you make sure that history is not lost as you move forward?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna: \u003c/strong>What I’m giving is making sure that my nieces and nephews who couldn’t come in the store for 13 years, get an opportunity to be a part of my business. But also, when I die, because we all die, when I die, they can go to the internet and click a button and they’re going to see my name everywhere on there. And when I have talks like this, they’re documented. That’s a way for those in the future to know that I did my work. I did. I understood the assignment. You know what I’m saying?\u003c/p>\n\u003cp>\u003cstrong>Corey Antonio:\u003c/strong> You understood the assignment.\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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"description": "Nenna Joiner owns Feelmore, a queer-friendly sex toy shop with locations in Berkeley and Oakland. Noticing the lack of Black queer spaces beyond the monthly “RnB nights” at many local clubs, they decided to open the Feelmore Social Club in Downtown Oakland, a bar slated to open in 2022. “This energy that they feel in",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nenna Joiner owns Feelmore, a queer-friendly sex toy shop with locations in Berkeley and Oakland. Noticing the lack of Black queer spaces beyond the monthly “RnB nights” at many local clubs, they decided to open the Feelmore Social Club in Downtown Oakland, a bar slated to open in 2022. “This energy that they feel in Feelmore is akin to the energy that they’re going to feel here,” Joiner assures, “We want to be open a long time.”\u003c/p>\n\u003cp>In the final episode of “Searching for a Kiki”, Joiner speaks about re-imagining the Black queer space, and the role of the Black queer dollar in the community.\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=KQINC1281318740\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of the episode with Nenna Joiner. \u003c/strong>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio Rose:\u003c/strong> So you came [to the Bay Area in 1994], what were you looking for when you came here?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna Joiner:\u003c/strong> I was looking for people and culture. Las Vegas didn’t have it at the time, but Oakland definitely had it. The stories that came out of here with rap music, with the Black Panthers, just with everything was going on, even HIV and AIDS actually… to hear their officials responding to this national crisis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> And so once you moved here and you started to discover the Bay Area nightlife… what did you find? What did you experience?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Well, I started riding the AC transit and I went into places they told you not to go. Because in Vegas, I lived in those places that they told us not to go. And so I was like, ‘Oh, that’s nothing!’… Finding the queer spaces, which were at the time Bellas and Cables Reef… You could go to San Francisco and get the the white queer crowds, or you can go to Oakland and you can get all the Black that you wanted to. It was just beautiful.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> I’m hurting. I moved to the Bay in August, and I have not gotten yet to experience a Black queer-owned bar, but there is a difference.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Mm-Hmm.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> And you feel that difference. What does it feel like once you’re in a space and you know that you are centered in the experience?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> I didn’t have to watch my back. You know, my feelings were protected. Everyone was there to have fun, to live the next day to celebrate life. And a lot of those people in those clubs, because they were much older than me, lost a lot of people because of AIDS… so really celebrating life was key, like it was like night and day. You can go in the club, come out the club, and feel a different way.\u003c/p>\n\u003cp>It started to change when downtown Oakland started to change. When they started to rename the neighborhoods, when they started to bring different businesses in and you were able to call the police and say, ‘Hey, there’s a commotion, end their liquor license’. Or they would have a stain against them with the city, which would ultimately lead them to fight to keep their business open, versus the stories of other businesses that didn’t have to go through that same experience.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio (narration):\u003c/strong> Bars and lounges that held the community down for years — Club 21, Diva’s, Club BnB, Este Noche and so many others were forced to close their doors for good. Gentrification wasn’t the only thing stacked against these bars. As tech forced Black queer people away from the city, they turned to apps to find each other. This meant the bars were no longer the oases they’d once been — you don’t need to go to a bar if you can order a man online — which brings us to today. Where you’re hard pressed to find a queer bar owned by a Black person. No tea no shade, there are a few gay bars in Oakland. I can count them on one hand, but that’s not a lot of options.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Oakland. Oakland ain’t got no gay clubs, you know what I mean? You know that queer people ain’t gonna go spend all the money. You know lesbians, as soon as we get in a relationship, we ain’t going nowhere. We staying home, and that’s just in the first week after we met at the club. And so you don’t want to pigeonhole yourself and to say that this is a gay club because the dollars that come along with that are very few, then saying we’re very accepting of everyone. But being a queer business owner, I do key in ways to encourage those that look like me: being brown and being queer.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> You already had the Feelmore in Berkeley and Oakland? What made you want to open a bar during the pandemic?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> Honey, let me tell you — it was lonely selling sex toys in downtown Oakland. Not many things were open. Not anything was open. Maybe the bodega across the street, but nothing else. I can remember a couple of times that I cried outside. I wasn’t crying because I didn’t have customers, that wasn’t the problem, I was crying because there is a culture that comes with protection when you have more than one business that’s open on the street. You want to make sure that you have this shared reason to keep your door open, that you’re open at the same hours. And that wasn’t happening. Bars were closing and not just closing their doors for the meantime, they were closing for the long term.\u003c/p>\n\u003cp>And I said, I think it’s time that we take this opportunity to turn it into something because someone else is going to come into that space. Why not us? And I think in a bar space, just as we’ve done with the sex shop, we’ve been very intentional and respectful in supporting people. [Because] we want to be open for a long time.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> I wanted to explore the role of sobriety within the queer community. How do you see your responsibility as a bar owner?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> That’s what it’s about: Making sure that people don’t have to go to another room to experience life. That they can experience life with everyone. It’s also about people who want to be at a bar experience without having to be forced upon, ‘Oh, why aren’t you drinking?’ Like, no, I get to have the same kind of fun. You’re having just less alcohol or no alcohol.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio: \u003c/strong>How does the experience of opening the Feelmore Social club compare to when you started your first business?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna:\u003c/strong> I started at the Ashby Bart station, selling out the trunk of my car on the street corners. I wanted to start this business. And I was going to use the rap music I listened to when I first started learning about Oakland to infuse in me that you can start this out in the trunk of your car. Like, look at all these rappers like E-40. I’ve never met him. But he started out the trunk of his car in Vallejo. Now look at him. We can do this with the little bit of what we have.\u003c/p>\n\u003cp>When I first started Feelmore, I started with my own money. I would call all these places and look for someone to rent to me. I got about 50 no’s, and a woman picked up the phone one day, she was like, ‘Don’t you know who I am?’ ‘I don’t know who you are. Like you a white lady.’ And she says, ‘Well, I’m Joani Blank. I actually started good vibrations.’ And so she and I became friends. That was somebody who said, “I’ll invest in you.” She invested in Feelmore.\u003c/p>\n\u003cp>Getting money is not easy. Not on your first business. Especially if you’re brown and queer. What does that mean? Do you get met with that every day? No, you don’t get met with that challenge. But the historical nature of it is that people will look at you as “not bankable.” [You’re fighting the stereotypes of] what kind of business can brown people do? They can do hair. They can clean up somebody’s home. You have to be very adamant about what you want to do — you’re going to have to show that you’ve done it in your own life with little bit of money. I won’t say my bank’s name, but I’ve had to like, lay in and be like, ‘Look, I feel that you’re not respecting me. You’re not taking me seriously’ like having to go to history lessons with banks like? I’ve had to do that because I’m fighting. I’m fighting against knowing that you just gave a million dollars to someone else, knowing that you just showed up at the planning commission to support another client. But you can’t even show up for me, and I’ve been with you for over 13 years. And reminding them.\u003c/p>\n\u003cp>But also what has been in my favor is the same people who were at the bank when I started, are the same people who are at the bank now. Those relationships really matter. So I tell any entrepreneur out there, do not go big, don’t go to Wells Fargo. Don’t go to Chase — unless you don’t SBA loan — go to small businesses, small banks who have been there and also find out how long their people have been there. It’s people who actually push that pen and push that paper and get you to the finish line.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Corey Antonio:\u003c/strong> Where do you draw your inspiration from and how do you make sure that history is not lost as you move forward?\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nenna: \u003c/strong>What I’m giving is making sure that my nieces and nephews who couldn’t come in the store for 13 years, get an opportunity to be a part of my business. But also, when I die, because we all die, when I die, they can go to the internet and click a button and they’re going to see my name everywhere on there. And when I have talks like this, they’re documented. That’s a way for those in the future to know that I did my work. I did. I understood the assignment. You know what I’m saying?\u003c/p>\n\u003cp>\u003cstrong>Corey Antonio:\u003c/strong> You understood the assignment.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Oprah Winfrey has chosen \u003cem>Nightcrawling\u003c/em>, from 19-year-old Oakland author Leila Mottley, for her next Oprah’s book club pick.\u003c/p>\n\u003cp>\u003cem>Nightcrawling\u003c/em> is inspired by the 2016 Celeste Guap sex exploitation scandal within the Oakland Police Department, and follows a young Black woman from East Oakland and her battles with poverty, racism and the police. \u003c/p>\n\u003cp>A spokesperson for Winfrey said Mottley is the youngest author to ever be selected for Oprah’s Book Club, founded in 1996.\u003c/p>\n\u003cp>“It brings me great joy to introduce readers to new authors, and this young poet Leila Mottley wrote a soul-searching portrait of survival and hope,” Winfrey said in a statement Tuesday.\u003c/p>\n\u003cp>[aside postID='forum_2010101872031']Mottley, born and raised in Oakland, served as the city’s youth poet laureate in 2018. In an interview with KPIX, Mottley said she wrote her first novel at 14 years old, her second at 15 and that she started writing \u003cem>Nightcrawling\u003c/em> at the age of 16, finished it by 17 and signed her publishing deal on her 18th birthday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’ve been writing since I could. I think it’s just part of my nature to tell stories and to tell stories that we don’t get to hear,” she told KPIX.\u003c/p>\n\u003cp>\u003cem>Nightcrawling\u003c/em> was published Tuesday and has been praised by James McBride and fellow Oakland author Tommy Orange, among others. It follows Kiara Johnson, the first-person narrator of the novel, as she becomes tied up in a scandal involving the Oakland Police Department while doing sex work, which sees her become the star witness in a blockbuster trial.\u003c/p>\n\u003cp>Mottley’s novel was inspired by the real-life story of Jasmine Abuslin, known as Celeste Guap, a young woman who was sexually exploited by as many as 30 law enforcement officers across seven different jurisdictions in the Bay Area in 2015 while she was a minor and the victim of sex trafficking.\u003c/p>\n\u003cp>Abuslin was 17 when she became sexually involved with Oakland Police Department officer Brendan O’Brien. Her name spread among the department and soon, Abuslin claimed, officers from all over the Bay Area started texting her, inquiring about her sex work. Abuslin said officers would provide her with information about confidential stings so that she could avoid going to jail for prostitution.\u003c/p>\n\u003cp>O’Brien shot himself in 2015 and left a suicide note that alerted OPD internal investigators to his and other officers’ sexual encounters with Abuslin. \u003c/p>\n\u003cp>[aside postID='news_11106467']Seven officers were eventually brought up on charges by the Alameda County District Attorney in 2016, while the city of Oakland fired four of their officers and put seven more on leave. Abuslin herself was sent to a drug rehab facility in Florida by the Richmond Police Department where she was charged with battery and imprisoned in Florida until 2016 before returning to California.\u003c/p>\n\u003cp>Mottley was just 13 years old when the OPD sexual exploitation scandal broke. She told KPIX that she remembers “being really kind of taken by the way that the media seemed to focus more on the police department than on the harm done to this girl, and the thousands of other girls and women that this happens to.”\u003c/p>\n\u003cp>“I hope that this book is either a mirror or a window,” the author continued. “Whether you see yourself reflected back to you through this book, or whether it’s not something you’ve experienced, but it expands your idea of our world and our country, I hope that more people think about the ways that we’re complicit in the harm of Black or brown girls and allow more Black girls to get to be kids and to experience ourselves as more than what the world expects of us.”\u003c/p>\n\u003cp>A co-sign from Oprah is a sure way for Mottley to reach more people. Mottley said in a statement that she was “absolutely floored when Ms. Winfrey popped up” during what she thought was an ordinary publishing meeting.\u003c/p>\n\u003cp>“It was the surprise of a lifetime,” she added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winfrey will speak with Mottley on June 30 for an interactive book club event on OprahDaily.com. Since starting her book club, Winfrey has often alternated between such established authors Toni Morrison and Richard Powers and such first-time authors as Mottley, Imbolo Mbue and Cynthia Bond.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oprah Winfrey has chosen \u003cem>Nightcrawling\u003c/em>, from 19-year-old Oakland author Leila Mottley, for her next Oprah’s book club pick.\u003c/p>\n\u003cp>\u003cem>Nightcrawling\u003c/em> is inspired by the 2016 Celeste Guap sex exploitation scandal within the Oakland Police Department, and follows a young Black woman from East Oakland and her battles with poverty, racism and the police. \u003c/p>\n\u003cp>A spokesperson for Winfrey said Mottley is the youngest author to ever be selected for Oprah’s Book Club, founded in 1996.\u003c/p>\n\u003cp>“It brings me great joy to introduce readers to new authors, and this young poet Leila Mottley wrote a soul-searching portrait of survival and hope,” Winfrey said in a statement Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mottley, born and raised in Oakland, served as the city’s youth poet laureate in 2018. In an interview with KPIX, Mottley said she wrote her first novel at 14 years old, her second at 15 and that she started writing \u003cem>Nightcrawling\u003c/em> at the age of 16, finished it by 17 and signed her publishing deal on her 18th birthday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve been writing since I could. I think it’s just part of my nature to tell stories and to tell stories that we don’t get to hear,” she told KPIX.\u003c/p>\n\u003cp>\u003cem>Nightcrawling\u003c/em> was published Tuesday and has been praised by James McBride and fellow Oakland author Tommy Orange, among others. It follows Kiara Johnson, the first-person narrator of the novel, as she becomes tied up in a scandal involving the Oakland Police Department while doing sex work, which sees her become the star witness in a blockbuster trial.\u003c/p>\n\u003cp>Mottley’s novel was inspired by the real-life story of Jasmine Abuslin, known as Celeste Guap, a young woman who was sexually exploited by as many as 30 law enforcement officers across seven different jurisdictions in the Bay Area in 2015 while she was a minor and the victim of sex trafficking.\u003c/p>\n\u003cp>Abuslin was 17 when she became sexually involved with Oakland Police Department officer Brendan O’Brien. Her name spread among the department and soon, Abuslin claimed, officers from all over the Bay Area started texting her, inquiring about her sex work. Abuslin said officers would provide her with information about confidential stings so that she could avoid going to jail for prostitution.\u003c/p>\n\u003cp>O’Brien shot himself in 2015 and left a suicide note that alerted OPD internal investigators to his and other officers’ sexual encounters with Abuslin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Seven officers were eventually brought up on charges by the Alameda County District Attorney in 2016, while the city of Oakland fired four of their officers and put seven more on leave. Abuslin herself was sent to a drug rehab facility in Florida by the Richmond Police Department where she was charged with battery and imprisoned in Florida until 2016 before returning to California.\u003c/p>\n\u003cp>Mottley was just 13 years old when the OPD sexual exploitation scandal broke. She told KPIX that she remembers “being really kind of taken by the way that the media seemed to focus more on the police department than on the harm done to this girl, and the thousands of other girls and women that this happens to.”\u003c/p>\n\u003cp>“I hope that this book is either a mirror or a window,” the author continued. “Whether you see yourself reflected back to you through this book, or whether it’s not something you’ve experienced, but it expands your idea of our world and our country, I hope that more people think about the ways that we’re complicit in the harm of Black or brown girls and allow more Black girls to get to be kids and to experience ourselves as more than what the world expects of us.”\u003c/p>\n\u003cp>A co-sign from Oprah is a sure way for Mottley to reach more people. Mottley said in a statement that she was “absolutely floored when Ms. Winfrey popped up” during what she thought was an ordinary publishing meeting.\u003c/p>\n\u003cp>“It was the surprise of a lifetime,” she added.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winfrey will speak with Mottley on June 30 for an interactive book club event on OprahDaily.com. Since starting her book club, Winfrey has often alternated between such established authors Toni Morrison and Richard Powers and such first-time authors as Mottley, Imbolo Mbue and Cynthia Bond.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Señor Gigio Brings His Galaxies to Ours",
"headTitle": "Señor Gigio Brings His Galaxies to Ours | KQED",
"content": "\u003cfigure id=\"attachment_13914437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/SenorGigio.MAIN_-800x888.jpg\" alt=\"A man in a ballcap sits in front of bamboo shoots and displays a book and pins\" width=\"800\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-800x888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-768x852.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Señor Gigio holds up his comic book and shows off his pins as he sits at Club Mallard in Albany. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To escape the news headlines about mass shootings, the surging cost of living, and celebrity court cases, I’ve once again turned to music to take me out of this world and into another dimension.\u003c/p>\n\u003cp>After listening to his latest album, \u003ca href=\"https://senorgigio.bandcamp.com/album/funklore\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Funklore\u003c/em>\u003c/a>, and reading the accompanying comic book titled \u003cem>Super Psychic Kitty Meets the Mummified Pharaoh\u003c/em>, it’s clear that rapper and illustrator \u003ca href=\"https://www.instagram.com/senorgigio/\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio\u003c/a> is tapped into a whole ‘nother cosmos.\u003c/p>\n\u003cp>His music is boom-bap “lyrical miracle” rap mixed with George Clinton space-age funk, with nods to internet conspiracy theories and songs that would make Digital Underground proud. It’s like Señor Gigio reads ancient texts while listening to Hieroglyphics—he even has a song with Hiero’s Opio.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Señor Gigio x Opio - \"The New Narrative\" (Official Music Video)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/2tdepGk55xs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Raised in Fairfield and now an East Bay resident, Señor Gigio brims with that Northern California entrepreneurial creativity. He edits his own music videos, designs his own clothes, and even has a side hustle with his wife of selling homemade pins at events.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But on top of everything, he’s really, really deep into hip-hop.\u003c/p>\n\u003cp>Influenced by wordsmiths of the past, Señor Gigio’s clear delivery and clever lyrics go from down-to-Earth references about the local landscape to the presence of extraterrestrial beings. And he’s clearly a fan of the Knights of the Round Table.\u003c/p>\n\u003cp class=\"p1\">“Modern day King Arthur, in the heart of the Bay/Sitting on the dock, like a lighthouse over the harbor,” he says on the track “A Knight’s Quest 2 Quest” featuring Johnny Venetti.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xky-xzdhCDg\u003c/p>\n\u003cp>A storyteller by nature, he can also make songs that are more grounded, like “Hair 2 Tha Throne,” a relatable track for anyone dealing with the pain of being a hairy person who’s simultaneously bald-headed.\u003c/p>\n\u003cp>On Saturday, June 11, Señor Gigio brings his otherworldly storytelling to our galaxy when he headlines a free show at Oakland’s 7th West.\u003c/p>\n\u003cp>He’ll be joined by a long list of talented artists from the soil, including \u003ca href=\"https://www.instagram.com/its1amsomewhere/\" target=\"_blank\" rel=\"noopener noreferrer\">1 A.M.\u003c/a>, \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nán Fiero\u003c/a>, \u003ca href=\"https://www.instagram.com/isaiahwitdahair/\" target=\"_blank\" rel=\"noopener noreferrer\">Isaiah Mostafa\u003c/a>, \u003ca href=\"https://www.instagram.com/vj.gabi/\" target=\"_blank\" rel=\"noopener noreferrer\">VJ Gabi\u003c/a>, and the duo of \u003ca href=\"https://www.instagram.com/professagabel/\">Professa Gabel\u003c/a> & \u003ca href=\"https://www.instagram.com/cyphfour/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyphfour\u003c/a> who perform under the name \u003ca href=\"https://www.instagram.com/curbside415/\" target=\"_blank\" rel=\"noopener noreferrer\">Curbside.\u003c/a> There will also be two live beat production sets by \u003ca href=\"https://www.instagram.com/b.i.lectric/\" target=\"_blank\" rel=\"noopener noreferrer\">B.i.letric\u003c/a> and \u003ca href=\"https://www.instagram.com/celadorbeats/\" target=\"_blank\" rel=\"noopener noreferrer\">Celador Beats\u003c/a>. Hosted by \u003ca href=\"https://www.instagram.com/mistercleenmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Mister Cleen\u003c/a>, with \u003ca href=\"https://www.instagram.com/djmonkearl/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Monk Earl\u003c/a> on the turntables, the event is slated to start at 6pm and go until midnight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More \u003ca href=\"https://senorgigio.guru/\" target=\"_blank\" rel=\"noopener noreferrer\">information and details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13914437\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914437\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/06/SenorGigio.MAIN_-800x888.jpg\" alt=\"A man in a ballcap sits in front of bamboo shoots and displays a book and pins\" width=\"800\" height=\"888\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-800x888.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-160x178.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_-768x852.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/06/SenorGigio.MAIN_.jpg 1020w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Señor Gigio holds up his comic book and shows off his pins as he sits at Club Mallard in Albany. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To escape the news headlines about mass shootings, the surging cost of living, and celebrity court cases, I’ve once again turned to music to take me out of this world and into another dimension.\u003c/p>\n\u003cp>After listening to his latest album, \u003ca href=\"https://senorgigio.bandcamp.com/album/funklore\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Funklore\u003c/em>\u003c/a>, and reading the accompanying comic book titled \u003cem>Super Psychic Kitty Meets the Mummified Pharaoh\u003c/em>, it’s clear that rapper and illustrator \u003ca href=\"https://www.instagram.com/senorgigio/\" target=\"_blank\" rel=\"noopener noreferrer\">Señor Gigio\u003c/a> is tapped into a whole ‘nother cosmos.\u003c/p>\n\u003cp>His music is boom-bap “lyrical miracle” rap mixed with George Clinton space-age funk, with nods to internet conspiracy theories and songs that would make Digital Underground proud. It’s like Señor Gigio reads ancient texts while listening to Hieroglyphics—he even has a song with Hiero’s Opio.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title='Señor Gigio x Opio - \"The New Narrative\" (Official Music Video)' width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/2tdepGk55xs?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Raised in Fairfield and now an East Bay resident, Señor Gigio brims with that Northern California entrepreneurial creativity. He edits his own music videos, designs his own clothes, and even has a side hustle with his wife of selling homemade pins at events.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But on top of everything, he’s really, really deep into hip-hop.\u003c/p>\n\u003cp>Influenced by wordsmiths of the past, Señor Gigio’s clear delivery and clever lyrics go from down-to-Earth references about the local landscape to the presence of extraterrestrial beings. And he’s clearly a fan of the Knights of the Round Table.\u003c/p>\n\u003cp class=\"p1\">“Modern day King Arthur, in the heart of the Bay/Sitting on the dock, like a lighthouse over the harbor,” he says on the track “A Knight’s Quest 2 Quest” featuring Johnny Venetti.\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/xky-xzdhCDg'\n title='//www.youtube.com/embed/xky-xzdhCDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A storyteller by nature, he can also make songs that are more grounded, like “Hair 2 Tha Throne,” a relatable track for anyone dealing with the pain of being a hairy person who’s simultaneously bald-headed.\u003c/p>\n\u003cp>On Saturday, June 11, Señor Gigio brings his otherworldly storytelling to our galaxy when he headlines a free show at Oakland’s 7th West.\u003c/p>\n\u003cp>He’ll be joined by a long list of talented artists from the soil, including \u003ca href=\"https://www.instagram.com/its1amsomewhere/\" target=\"_blank\" rel=\"noopener noreferrer\">1 A.M.\u003c/a>, \u003ca href=\"https://www.instagram.com/nanfiero/\" target=\"_blank\" rel=\"noopener noreferrer\">Nán Fiero\u003c/a>, \u003ca href=\"https://www.instagram.com/isaiahwitdahair/\" target=\"_blank\" rel=\"noopener noreferrer\">Isaiah Mostafa\u003c/a>, \u003ca href=\"https://www.instagram.com/vj.gabi/\" target=\"_blank\" rel=\"noopener noreferrer\">VJ Gabi\u003c/a>, and the duo of \u003ca href=\"https://www.instagram.com/professagabel/\">Professa Gabel\u003c/a> & \u003ca href=\"https://www.instagram.com/cyphfour/\" target=\"_blank\" rel=\"noopener noreferrer\">Cyphfour\u003c/a> who perform under the name \u003ca href=\"https://www.instagram.com/curbside415/\" target=\"_blank\" rel=\"noopener noreferrer\">Curbside.\u003c/a> There will also be two live beat production sets by \u003ca href=\"https://www.instagram.com/b.i.lectric/\" target=\"_blank\" rel=\"noopener noreferrer\">B.i.letric\u003c/a> and \u003ca href=\"https://www.instagram.com/celadorbeats/\" target=\"_blank\" rel=\"noopener noreferrer\">Celador Beats\u003c/a>. Hosted by \u003ca href=\"https://www.instagram.com/mistercleenmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Mister Cleen\u003c/a>, with \u003ca href=\"https://www.instagram.com/djmonkearl/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Monk Earl\u003c/a> on the turntables, the event is slated to start at 6pm and go until midnight.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More \u003ca href=\"https://senorgigio.guru/\" target=\"_blank\" rel=\"noopener noreferrer\">information and details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakstop Nurtures An Ecosystem of Black Artists and Entrepreneurs",
"headTitle": "Oakstop Nurtures An Ecosystem of Black Artists and Entrepreneurs | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>. [aside postID=\"arts_13913750\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-2-1020x574.jpg\"]\u003c/em>\u003c/p>\n\u003cp>In 2014, Trevor Parham had this idea. He wanted to create a service that provides artists—specifically Black artists in Oakland—with the space to be creative entrepreneurs. If they needed a location for an event for a couple of hours, a coworking space for a few months or even a full office for a long-term project, they could turn to his organization, \u003ca href=\"https://oakstop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakstop\u003c/a>.\u003c/p>\n\u003cp>The business’ first footprint was a 4,000 square-foot, second-story coworking space at 1721 Broadway. Eight years later, Oakstop now operates out of multiple floors in that building, as well as four other spaces in Oakland and one in Richmond. Parham built the organization on the idea of “metabolizing the high cost of real estate, and providing it back to the community at rates they can afford,” he says. He saw early success, made some notable advances during the pandemic and is now eyeing further expansion.\u003c/p>\n\u003cp>How does it feel to see the organization’s growth? “It feels right. It feels just,” Parham says.\u003c/p>\n\u003cp>He believes this is something that the Black artists who call Oakland home should’ve always had. That statement stands out in the face of the overall history of this country. And more specifically, the recent history of this region, where a number of elements, including predatory housing loans, exorbitant rents and the influx of tech workers, have contributed to driving working class Black people out of Oakland, leading to drastic demographic shifts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In response, Parham says Oakstop is doing what it’s supposed to do. Under the Oakstop umbrella, creatives of diverse backgrounds are finding a place to plant their roots and grow. On a higher level, the organization is positioning itself to push back against oppressive forces that have threatened the very culture that makes Oakland, Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13914120\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914120\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Parham, founder of Oakstop, talks with a student artist during an exhibit on May 12, 2022 in Oakland, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parham has seen it all unfold. He’s an Oakland kid who has deep roots here.\u003c/p>\n\u003cp>“The home I lived in when I was first born burned down in the ’91 fire,” says Parham over the phone. Because he can’t go to one specific structure and say, “This is the house I grew up in,” he looks at the entire area as his home.\u003c/p>\n\u003cp>“Perhaps,” Parham says, “that’s now why our business is spread across so many structures.” [aside postID=\"arts_13913947\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/BalayKreative_COVER-1020x574.png\"]\u003c/p>\n\u003ch2>A Network of Artists Grows\u003c/h2>\n\u003cp>And inside of Oakstop’s structures, estheticians have debuted new calendars, podcast hosts have become acquainted with one another, and aerosol artists have gotten decked out in their flyest attire and taken photos while celebrating their accomplishments. A center for LGTBQ+ youth has expanded, a monthly open mic has found a home, and numerous individuals and organizations have benefitted.\u003c/p>\n\u003cp>“I believe I might’ve technically been the first member of Oakstop,” says singer and multi-talented creator \u003ca href=\"https://jennjohns.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Johns\u003c/a>, who’s known Parham since “Jesus was a boy.” She recalls helping Parham, a longtime family friend, paint the walls of the space and move furniture. In regards to Oakstop and Parham’s recent growth, Johns says, “The model he’s creating will be useful for folks around the country, and the world… He’s just getting started, I think folks should just sit back and watch.”\u003c/p>\n\u003cp>Another early occupant of the space is award winning visual artist \u003ca href=\"https://www.facebook.com/James-Gayles-Art-115439938470598/\" target=\"_blank\" rel=\"noopener noreferrer\">James Gayles\u003c/a>, whose watercolor portraits of African American luminaries evoke stardust, the ocean breeze and other elements of the universe. He says, “Oakstop typifies Oakland. It brings people together.”\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Trevor Parham\"]‘You can’t have Oakland without having a vibrant Black community. We’re the soul of the city, particularly the artists.’[/pullquote]\u003c/p>\n\u003cp>Echoing that sentiment is filmmaker and writer \u003ca href=\"http://forwardevermedia.com/about-us/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheo Tyehimba Taylor\u003c/a>, whose work often delves into the topics of Black love, the criminal justice system and the coming of age experience of African American men. He’s also the curator behind the ongoing Summer Films Showcase across town at East Oakland’s Black Cultural Zone. Tyehimba Taylor has had multiple stints working out of Oakstop’s 1721 Broadway building, during which he’s collaborated with film editors and social media creators who were already in the shared working space.\u003c/p>\n\u003cp>On top of the networking, Tyehimba Taylor says the ability to barter creative services in exchange for a lower rent is something that he and other artists have benefited from. “Trevor is an artist himself,” says Tyehimba Taylor, noting Parham’s background in design, as well as his experience in the realms of philanthropy and social justice organizations. “He’s the right kind of person to be in the coworking rental space for creatives. … A lot of the time, those people aren’t artists, they don’t understand how we make a dollar out of fifteen cents.” [aside postID=\"arts_13913821\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-Endeavors-1020x574.jpg\"]\u003c/p>\n\u003cp>Oakstop’s prices range from $50 per month for basic membership to the coworking space to north of $3,000 for particular office rentals. Event space can range from $30 to $300 an hour. And Parham says those numbers are flexible. He hasn’t run into anyone who fundamentally disagrees with the business model or the approach.\u003c/p>\n\u003cp>When it comes to the contentious idea that African Americans can achieve liberation through economics, he says, “It was economics that got us in this position in the first place… The tool to undo our lack of liberation is economics.”\u003c/p>\n\u003cp>But beyond the business philosophy, it’s the relationships and reputation that have carried Oakstop.\u003c/p>\n\u003cfigure id=\"attachment_13914117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_2827-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brette Sims poses in front of her own artwork at the 1721 Broadway Oakstop location in March 2021. \u003ccite>(Alona Grigg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual artist \u003ca href=\"https://www.instagram.com/brettesims/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Brette Sims\u003c/a> attests to that. In 2014 she contacted Parham about his space. At the same time, unbeknownst to her, her father met Parham and was talking to him about Sims’ work. The result has been a decade-long partnership where Parham has allocated coworking space, assisted in mounting and selling her work—specifically her colorful psychedelic series of paintings, \u003cem>Alice in Hennyland\u003c/em>. He even helped write the description cards that accompany her artwork.\u003c/p>\n\u003cp>“Black artists, a lot of us, we create from the bottom of our hearts,” says Sims, “but too often, we’re not given the space and the recognition we deserve.” The founder of \u003ca href=\"https://stukdesigns.org/\" target=\"_blank\" rel=\"noopener noreferrer\">STUK Designs\u003c/a>, a nonprofit that empowers young women through art, Sims says she’s benefited from taking notes on the business model Parham has created. After mentioning how racist and sexist the art world can be, Sims says, “Oakstop is a space that grants us opportunities that we never would have.”\u003c/p>\n\u003cp>“It’s motivating to know that we’ve been able to tap into a network of people who want to build,” Parham says. “It’s important for us to create institutions where people feel that it resonates with their whole soul.”\u003c/p>\n\u003cfigure id=\"attachment_13914135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914135\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Parham poses for a portrait in front of one of his Oakstop locations on May 12, 2022 in Oakland, Calif. “So that’s a lot of what this space represents is artists now being able to reap a lot of the value that they’ve sown over the years here in Oakland, helping to define the Oakland culture,” Parham says. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Expanding Oakstop’s Footprint\u003c/h2>\n\u003cp>After its founding in 2014, the original footprint of Oakstop grew from 4,000 square feet to 24,000 over the course of a few years. In April 2018, Parham and his team acquired a space on 14th Street between Alice and Harrison Streets. The building has three floors and a basement, but they only occupy the second and third floor, a total of 10,000 square feet.\u003c/p>\n\u003cp>The third location came in April of the following year. Parham and his team thought a building adjacent to Richmond BART would make a good spot for a cafe, given the foot traffic that comes through the station. But the pandemic hit, BART’s ridership plummeted and they had to pivot. [aside postID=\"arts_13913890\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-La-Dona-1020x574.jpg\"]\u003c/p>\n\u003cp>“We opened last summer with soup, salads and sandwiches,” says Free Brown, owner of \u003ca href=\"https://www.yelp.com/biz/vibe-bistro-richmond\" target=\"_blank\" rel=\"noopener noreferrer\">Vibe Bistro\u003c/a>, a “second chance employer” that works with people who are formerly incarcerated. The cafe quickly made alterations after its opening, turning the eatery into more of a “grab-and-go” venue. It’s something they’re going to keep, and something that Oakstop supports.\u003c/p>\n\u003cp>Brown, a therapist by trade, doesn’t look at herself as a creative at all, but says Oakstop is able to reach beyond art to work with a variety of professionals. “They work with chefs, therapists, growers and all kinds of things,” says Brown. “It’s not just art on the walls.”\u003c/p>\n\u003cp>And sometimes the art is the walls. [pullquote alight=\"right\" size=\"medium\" citation=\"Brette Sims, artist\"]‘Black artists, a lot of us, we create from the bottom of our hearts. But too often, we’re not given the space and the recognition we deserve.’[/pullquote]\u003c/p>\n\u003cp>Downtown Oakland’s beautiful California Ballroom, an Art Deco building that was erected nearly 100 years ago, fell under the management of Oakstop in the fall of 2020. They officially started hosting regal galas and formal events there in January of 2021.\u003c/p>\n\u003cp>Around the same time Parham and Elisse Douglass started the \u003ca href=\"https://oaklandblackbusinessfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Business Fund\u003c/a>, an organization aimed at creating a sustainable Black business ecosystem. OBBF, which Parham now manages along with Damon Johnson, gets grants and uses them to pay Black-owned businesses to perform services for other Black-owned businesses. Parham says it’s a totally separate nonprofit that approaches the same problem of Black artists being displaced due to lack of resources, just from another angle—providing money instead of space.\u003c/p>\n\u003cfigure id=\"attachment_13914118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_3784-800x526.jpeg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_3784-800x526.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_3784-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_3784-768x505.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_3784.jpeg 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tayleur Crenshaw poses at the Oakstop gallery and storefront at 1714 Telegraph Avenue where her nonprofit, Gold Beams, hosted their first art exhibition, ‘& Mondays Were Never The Same’ in October 2020. \u003ccite>(Dorean Raye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within this past year, Oakstop started managing their fifth site, a huge building at 2323 Broadway, the former location of Impact Hub Oakland. Parham says the owners were struggling because of the pandemic, but wanted to keep the venue as an “Oakland-centric operation,” instead of allowing a national corporation to come in and do retail. The owners were familiar with Oakstop’s community connections and business model, so they reached out. A few weeks later, Oakstop was operating a shared working space and hosting creative events out of the venue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/beammeuptayleur/\" target=\"_blank\" rel=\"noopener noreferrer\">Tayleur Crenshaw\u003c/a>, co-founder of the event production company Gold Beams, hosts the Second Mondays open mic series out of that space. She says, laughing, “It’s crazy to have a person in your phonebook where you can say, ‘Hey, can I borrow your convention center for a sec?’”\u003c/p>\n\u003cp>Crenshaw is a member of the Oakstop Alliance— the organization’s nonprofit wing, which focuses a deeper level of membership that involves Crenshaw helping out with marketing and promotion. On a more serious note, she says, “They trust me, not only do they trust me, they respect me for what I do.” [aside postID=\"arts_13913584\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg\"]\u003c/p>\n\u003cp>She says that during her events she reminds people in the crowd that they’re in a Black-operated and -managed space. “This connection that I have with Oakstop, you can have too,” says Crenshaw, “You’re part of this ecosystem.”\u003c/p>\n\u003cp>The sixth location is at 1740 Telegraph Avenue, where they operate out of two of the three stories in the building. Oakstop acquired it in 2021 after the owners were looking to bounce back from the lull of the pandemic and activate the space. The anchor tenant is now the youth wing of the \u003ca href=\"https://www.oaklandlgbtqcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland LGBTQ Community Center\u003c/a>.\u003c/p>\n\u003cp>“It means a lot,” says Center CEO Joe Hawkins. “For those of us who have been in Oakland long enough, they will recall that there once was a LGBTQ youth center right next door to that space, and that center was burned down twice.”\u003c/p>\n\u003cp>Now, the organization hosts events and uses office space in the building. “It’s just too ironic that we’d have a new youth center right next to a place that was pretty much demonized back in the ’90s, and now it’s reborn through Oakstop.”\u003c/p>\n\u003cp>When Hawkins told Parham about this connection, Hawkins recalls Parham saying, “Wow, so this is meant to be.”\u003c/p>\n\u003cp>Parham knows, as many do, that Oakland’s brand is its culture and its soul. “You can’t have Oakland without having a vibrant Black community,” Parham says. “We’re the soul of the city, particularly the artists.”\u003c/p>\n\u003cfigure id=\"attachment_13914124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Parham poses for a portrait in one of the Oakstop locations on May 12, 2022 in Oakland, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to preserve this history and ensure its future, Parham is focused on accessing land, creating shared working spaces, making stages for quality performances and decorating walls with eye-catching Afrocentrentic visual art.\u003c/p>\n\u003cp>But he believes the real gold is incubating the ideas of talented people. “That’s the bigger picture,” says Parham. “We have to make sure that that talent is not only cultivated and preserved, but harnessed for the benefit of everybody here.”\u003c/p>\n\u003cp>The potential next steps for Oakstop are wide open. Parham says they’re eying expansion to the east coast, maybe Baltimore. And he’s also looking to grow virtually by getting into the NFT space. But no matter how far it grows, at its core Oakstop is an organization that is simply using “space as a service.” And they’re doing so by centering Black folks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/em>\u003c/p>\n\u003cp>In 2014, Trevor Parham had this idea. He wanted to create a service that provides artists—specifically Black artists in Oakland—with the space to be creative entrepreneurs. If they needed a location for an event for a couple of hours, a coworking space for a few months or even a full office for a long-term project, they could turn to his organization, \u003ca href=\"https://oakstop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakstop\u003c/a>.\u003c/p>\n\u003cp>The business’ first footprint was a 4,000 square-foot, second-story coworking space at 1721 Broadway. Eight years later, Oakstop now operates out of multiple floors in that building, as well as four other spaces in Oakland and one in Richmond. Parham built the organization on the idea of “metabolizing the high cost of real estate, and providing it back to the community at rates they can afford,” he says. He saw early success, made some notable advances during the pandemic and is now eyeing further expansion.\u003c/p>\n\u003cp>How does it feel to see the organization’s growth? “It feels right. It feels just,” Parham says.\u003c/p>\n\u003cp>He believes this is something that the Black artists who call Oakland home should’ve always had. That statement stands out in the face of the overall history of this country. And more specifically, the recent history of this region, where a number of elements, including predatory housing loans, exorbitant rents and the influx of tech workers, have contributed to driving working class Black people out of Oakland, leading to drastic demographic shifts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In response, Parham says Oakstop is doing what it’s supposed to do. Under the Oakstop umbrella, creatives of diverse backgrounds are finding a place to plant their roots and grow. On a higher level, the organization is positioning itself to push back against oppressive forces that have threatened the very culture that makes Oakland, Oakland.\u003c/p>\n\u003cfigure id=\"attachment_13914120\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914120\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-800x530.jpg\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-1020x676.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut-1536x1018.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56129_20220512_TrevorOakstop-15-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Parham, founder of Oakstop, talks with a student artist during an exhibit on May 12, 2022 in Oakland, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Parham has seen it all unfold. He’s an Oakland kid who has deep roots here.\u003c/p>\n\u003cp>“The home I lived in when I was first born burned down in the ’91 fire,” says Parham over the phone. Because he can’t go to one specific structure and say, “This is the house I grew up in,” he looks at the entire area as his home.\u003c/p>\n\u003cp>“Perhaps,” Parham says, “that’s now why our business is spread across so many structures.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>A Network of Artists Grows\u003c/h2>\n\u003cp>And inside of Oakstop’s structures, estheticians have debuted new calendars, podcast hosts have become acquainted with one another, and aerosol artists have gotten decked out in their flyest attire and taken photos while celebrating their accomplishments. A center for LGTBQ+ youth has expanded, a monthly open mic has found a home, and numerous individuals and organizations have benefitted.\u003c/p>\n\u003cp>“I believe I might’ve technically been the first member of Oakstop,” says singer and multi-talented creator \u003ca href=\"https://jennjohns.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Johns\u003c/a>, who’s known Parham since “Jesus was a boy.” She recalls helping Parham, a longtime family friend, paint the walls of the space and move furniture. In regards to Oakstop and Parham’s recent growth, Johns says, “The model he’s creating will be useful for folks around the country, and the world… He’s just getting started, I think folks should just sit back and watch.”\u003c/p>\n\u003cp>Another early occupant of the space is award winning visual artist \u003ca href=\"https://www.facebook.com/James-Gayles-Art-115439938470598/\" target=\"_blank\" rel=\"noopener noreferrer\">James Gayles\u003c/a>, whose watercolor portraits of African American luminaries evoke stardust, the ocean breeze and other elements of the universe. He says, “Oakstop typifies Oakland. It brings people together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Echoing that sentiment is filmmaker and writer \u003ca href=\"http://forwardevermedia.com/about-us/\" target=\"_blank\" rel=\"noopener noreferrer\">Cheo Tyehimba Taylor\u003c/a>, whose work often delves into the topics of Black love, the criminal justice system and the coming of age experience of African American men. He’s also the curator behind the ongoing Summer Films Showcase across town at East Oakland’s Black Cultural Zone. Tyehimba Taylor has had multiple stints working out of Oakstop’s 1721 Broadway building, during which he’s collaborated with film editors and social media creators who were already in the shared working space.\u003c/p>\n\u003cp>On top of the networking, Tyehimba Taylor says the ability to barter creative services in exchange for a lower rent is something that he and other artists have benefited from. “Trevor is an artist himself,” says Tyehimba Taylor, noting Parham’s background in design, as well as his experience in the realms of philanthropy and social justice organizations. “He’s the right kind of person to be in the coworking rental space for creatives. … A lot of the time, those people aren’t artists, they don’t understand how we make a dollar out of fifteen cents.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakstop’s prices range from $50 per month for basic membership to the coworking space to north of $3,000 for particular office rentals. Event space can range from $30 to $300 an hour. And Parham says those numbers are flexible. He hasn’t run into anyone who fundamentally disagrees with the business model or the approach.\u003c/p>\n\u003cp>When it comes to the contentious idea that African Americans can achieve liberation through economics, he says, “It was economics that got us in this position in the first place… The tool to undo our lack of liberation is economics.”\u003c/p>\n\u003cp>But beyond the business philosophy, it’s the relationships and reputation that have carried Oakstop.\u003c/p>\n\u003cfigure id=\"attachment_13914117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914117\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_2827-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_2827.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Brette Sims poses in front of her own artwork at the 1721 Broadway Oakstop location in March 2021. \u003ccite>(Alona Grigg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Visual artist \u003ca href=\"https://www.instagram.com/brettesims/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Brette Sims\u003c/a> attests to that. In 2014 she contacted Parham about his space. At the same time, unbeknownst to her, her father met Parham and was talking to him about Sims’ work. The result has been a decade-long partnership where Parham has allocated coworking space, assisted in mounting and selling her work—specifically her colorful psychedelic series of paintings, \u003cem>Alice in Hennyland\u003c/em>. He even helped write the description cards that accompany her artwork.\u003c/p>\n\u003cp>“Black artists, a lot of us, we create from the bottom of our hearts,” says Sims, “but too often, we’re not given the space and the recognition we deserve.” The founder of \u003ca href=\"https://stukdesigns.org/\" target=\"_blank\" rel=\"noopener noreferrer\">STUK Designs\u003c/a>, a nonprofit that empowers young women through art, Sims says she’s benefited from taking notes on the business model Parham has created. After mentioning how racist and sexist the art world can be, Sims says, “Oakstop is a space that grants us opportunities that we never would have.”\u003c/p>\n\u003cp>“It’s motivating to know that we’ve been able to tap into a network of people who want to build,” Parham says. “It’s important for us to create institutions where people feel that it resonates with their whole soul.”\u003c/p>\n\u003cfigure id=\"attachment_13914135\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914135\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-1020x698.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56132_20220512_TrevorOakstop-19-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Parham poses for a portrait in front of one of his Oakstop locations on May 12, 2022 in Oakland, Calif. “So that’s a lot of what this space represents is artists now being able to reap a lot of the value that they’ve sown over the years here in Oakland, helping to define the Oakland culture,” Parham says. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Expanding Oakstop’s Footprint\u003c/h2>\n\u003cp>After its founding in 2014, the original footprint of Oakstop grew from 4,000 square feet to 24,000 over the course of a few years. In April 2018, Parham and his team acquired a space on 14th Street between Alice and Harrison Streets. The building has three floors and a basement, but they only occupy the second and third floor, a total of 10,000 square feet.\u003c/p>\n\u003cp>The third location came in April of the following year. Parham and his team thought a building adjacent to Richmond BART would make a good spot for a cafe, given the foot traffic that comes through the station. But the pandemic hit, BART’s ridership plummeted and they had to pivot. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We opened last summer with soup, salads and sandwiches,” says Free Brown, owner of \u003ca href=\"https://www.yelp.com/biz/vibe-bistro-richmond\" target=\"_blank\" rel=\"noopener noreferrer\">Vibe Bistro\u003c/a>, a “second chance employer” that works with people who are formerly incarcerated. The cafe quickly made alterations after its opening, turning the eatery into more of a “grab-and-go” venue. It’s something they’re going to keep, and something that Oakstop supports.\u003c/p>\n\u003cp>Brown, a therapist by trade, doesn’t look at herself as a creative at all, but says Oakstop is able to reach beyond art to work with a variety of professionals. “They work with chefs, therapists, growers and all kinds of things,” says Brown. “It’s not just art on the walls.”\u003c/p>\n\u003cp>And sometimes the art is the walls. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Downtown Oakland’s beautiful California Ballroom, an Art Deco building that was erected nearly 100 years ago, fell under the management of Oakstop in the fall of 2020. They officially started hosting regal galas and formal events there in January of 2021.\u003c/p>\n\u003cp>Around the same time Parham and Elisse Douglass started the \u003ca href=\"https://oaklandblackbusinessfund.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland Black Business Fund\u003c/a>, an organization aimed at creating a sustainable Black business ecosystem. OBBF, which Parham now manages along with Damon Johnson, gets grants and uses them to pay Black-owned businesses to perform services for other Black-owned businesses. Parham says it’s a totally separate nonprofit that approaches the same problem of Black artists being displaced due to lack of resources, just from another angle—providing money instead of space.\u003c/p>\n\u003cfigure id=\"attachment_13914118\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914118\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_3784-800x526.jpeg\" alt=\"\" width=\"800\" height=\"526\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_3784-800x526.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_3784-160x105.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_3784-768x505.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_3784.jpeg 828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tayleur Crenshaw poses at the Oakstop gallery and storefront at 1714 Telegraph Avenue where her nonprofit, Gold Beams, hosted their first art exhibition, ‘& Mondays Were Never The Same’ in October 2020. \u003ccite>(Dorean Raye)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Within this past year, Oakstop started managing their fifth site, a huge building at 2323 Broadway, the former location of Impact Hub Oakland. Parham says the owners were struggling because of the pandemic, but wanted to keep the venue as an “Oakland-centric operation,” instead of allowing a national corporation to come in and do retail. The owners were familiar with Oakstop’s community connections and business model, so they reached out. A few weeks later, Oakstop was operating a shared working space and hosting creative events out of the venue.\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/beammeuptayleur/\" target=\"_blank\" rel=\"noopener noreferrer\">Tayleur Crenshaw\u003c/a>, co-founder of the event production company Gold Beams, hosts the Second Mondays open mic series out of that space. She says, laughing, “It’s crazy to have a person in your phonebook where you can say, ‘Hey, can I borrow your convention center for a sec?’”\u003c/p>\n\u003cp>Crenshaw is a member of the Oakstop Alliance— the organization’s nonprofit wing, which focuses a deeper level of membership that involves Crenshaw helping out with marketing and promotion. On a more serious note, she says, “They trust me, not only do they trust me, they respect me for what I do.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She says that during her events she reminds people in the crowd that they’re in a Black-operated and -managed space. “This connection that I have with Oakstop, you can have too,” says Crenshaw, “You’re part of this ecosystem.”\u003c/p>\n\u003cp>The sixth location is at 1740 Telegraph Avenue, where they operate out of two of the three stories in the building. Oakstop acquired it in 2021 after the owners were looking to bounce back from the lull of the pandemic and activate the space. The anchor tenant is now the youth wing of the \u003ca href=\"https://www.oaklandlgbtqcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland LGBTQ Community Center\u003c/a>.\u003c/p>\n\u003cp>“It means a lot,” says Center CEO Joe Hawkins. “For those of us who have been in Oakland long enough, they will recall that there once was a LGBTQ youth center right next door to that space, and that center was burned down twice.”\u003c/p>\n\u003cp>Now, the organization hosts events and uses office space in the building. “It’s just too ironic that we’d have a new youth center right next to a place that was pretty much demonized back in the ’90s, and now it’s reborn through Oakstop.”\u003c/p>\n\u003cp>When Hawkins told Parham about this connection, Hawkins recalls Parham saying, “Wow, so this is meant to be.”\u003c/p>\n\u003cp>Parham knows, as many do, that Oakland’s brand is its culture and its soul. “You can’t have Oakland without having a vibrant Black community,” Parham says. “We’re the soul of the city, particularly the artists.”\u003c/p>\n\u003cfigure id=\"attachment_13914124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914124\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/RS56124_20220512_TrevorOakstop-07-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Parham poses for a portrait in one of the Oakstop locations on May 12, 2022 in Oakland, Calif. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to preserve this history and ensure its future, Parham is focused on accessing land, creating shared working spaces, making stages for quality performances and decorating walls with eye-catching Afrocentrentic visual art.\u003c/p>\n\u003cp>But he believes the real gold is incubating the ideas of talented people. “That’s the bigger picture,” says Parham. “We have to make sure that that talent is not only cultivated and preserved, but harnessed for the benefit of everybody here.”\u003c/p>\n\u003cp>The potential next steps for Oakstop are wide open. Parham says they’re eying expansion to the east coast, maybe Baltimore. And he’s also looking to grow virtually by getting into the NFT space. But no matter how far it grows, at its core Oakstop is an organization that is simply using “space as a service.” And they’re doing so by centering Black folks.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Society's Cage' Conveys the Oppressive Weight of America's Racism",
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"content": "\u003cfigure id=\"attachment_13914068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SocietysCage-800x999.jpg\" alt=\"A man in black jeans and t-shirt in front of rows of rebar.\" width=\"800\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SocietysCage-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SocietysCage-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SocietysCage-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SocietysCage.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Randolph Belle stands in front of ‘Society’s Cage,’ an art installation currently at Oakland City Hall. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After police officers killed George Floyd and Breonna Taylor in 2020, four \u003cspan style=\"font-weight: 400\">Black creatives \u003c/span>\u003cspan style=\"font-weight: 400\">from the Washington, D.C. office of SmithGroup Architecture\u003c/span> resolved to convey, in a work of art, the omnipresence and impact of institutional racism.\u003c/p>\n\u003cp>Initially debuting in Washington D.C. at the National Mall, and later shown in Baltimore, Maryland and then Tulsa, Oklahoma during the 100th anniversary of the Tulsa Massacre, \u003ca href=\"https://www.societyscage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Society’s Cage\u003c/em>\u003c/a> currently stands in front of Oakland’s City Hall.\u003c/p>\n\u003cp>“It needed to be in the seat of government,” says Randolph Belle, \u003ca href=\"http://www.randolphbelle.com/soa\" target=\"_blank\" rel=\"noopener noreferrer\">Executive Director of Support Oakland Artists\u003c/a>. “Because that’s where all of the policy makers and legislators are who can impact the topics at hand. ”\u003c/p>\n\u003cp>\u003cem>Society’s Cage\u003c/em> is a literal 15′ x 15′ cage, composed of large steel rods and small lights. It is inscribed with names of those who’ve died at the hands of police violence, as well as those whose lives have been dedicated to fighting racism. Standing in the middle of its rods, among its heavy weight, one \u003cem>feels\u003c/em> the heinous displays of race-based hatred this country has shown.\u003c/p>\n\u003cfigure id=\"attachment_13914012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914012\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_9857-800x600.jpeg\" alt=\"The rusted steel pipes and electric lights that adorn the Society's Cage art installation.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rusted steel pipes and electric lights adorn the ‘Society’s Cage’ art installation. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s also mathematically accurate. Created by Dayton Mark Schroeter, Julian Arrington, Monteil Crawley, Ivan O’Garro, the piece’s dimensions draw upon statistics related to inequalities in the criminal justice system.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Only a quarter of the rods reach to the ground, reflecting the grim fact that one in four Black Americans will be incarcerated in his or her lifetime,” reads \u003ca href=\"https://www.smithgroup.com/projects/societys-cage-experiential-installation\" target=\"_blank\" rel=\"noopener noreferrer\">the project description\u003c/a>.\u003c/p>\n\u003cp>Belle notes that the walls of the piece represent four of racism’s most horrifying manifestations: \u003cspan style=\"font-weight: 400\">death by lynching, death by police officer, capital punishment and mass incarceration.\u003c/span>\u003c/p>\n\u003cp>There’s an audio aspect to the piece; haunting, recorded sounds of chains, crying and pain. The audio’s duration is exactly 8:46, the amount of time George Floyd struggled for his life while pinned under the knee of former police officer Derek Chauvin.\u003c/p>\n\u003cp>Viewers are asked to hold their breath as they walk through the exhibition, a nod to Floyd’s utterance in his final moments that he couldn’t breathe. Attendees are also asked to read the names and quotes written on the raised platform.\u003c/p>\n\u003cp>After the piece \u003ca href=\"https://www.instagram.com/p/CdVCwWVuJ7w/\" target=\"_blank\" rel=\"noopener noreferrer\">rolled into town\u003c/a> earlier this month, organizers held an \u003cspan style=\"font-weight: 400\">unveiling with the designers and project sponsors\u003c/span>. Subsequently, the piece became a fitting backdrop to protests against the overturning of Roe v. Wade, as well an de facto memorial for the victims of the May 14 mass shooting at a Black neighborhood in Buffalo.\u003c/p>\n\u003cp>“The piece was created in response to white supremacy,” says Belle, who assisted in bringing the artwork to the Bay Area. “It was a tragic coincidence that Society’s Cage was up at that site at the time.”\u003c/p>\n\u003cp>Belle says the piece was made to force audiences to reckon with the pervasive presence of racism in this country. After all, some people might be able to look past racism. But it’s difficult to \u003cem>not\u003c/em> see a huge metal cage.\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>\u003cem>‘Society’s Cage’ is on display at Oakland City Hall through Sunday, May 29. That evening, from 7pm–10pm, a closing reception at the site includes \u003cspan style=\"font-weight: 400\">the project designers\u003c/span>, speakers, Black Panther Party alumni members, musicians Kev Choice and Dame Drummer, Oscar Grant’s uncle Cephus Johnson, illustrator Emory Douglas, Oakland Poet Laureate Ayodele Nzinga, \u003cspan style=\"font-weight: 400\">activist Cat Brooks, Destiny Muhammad, and a host of artists organized by HipHopTV\u003c/span>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information, visit the \u003ca href=\"https://www.societyscage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Society’s Cage’ website\u003c/a> or its \u003ca href=\"https://www.instagram.com/societyscage/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13914068\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914068\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SocietysCage-800x999.jpg\" alt=\"A man in black jeans and t-shirt in front of rows of rebar.\" width=\"800\" height=\"999\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SocietysCage-800x999.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SocietysCage-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SocietysCage-768x959.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SocietysCage.jpg 997w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Randolph Belle stands in front of ‘Society’s Cage,’ an art installation currently at Oakland City Hall. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After police officers killed George Floyd and Breonna Taylor in 2020, four \u003cspan style=\"font-weight: 400\">Black creatives \u003c/span>\u003cspan style=\"font-weight: 400\">from the Washington, D.C. office of SmithGroup Architecture\u003c/span> resolved to convey, in a work of art, the omnipresence and impact of institutional racism.\u003c/p>\n\u003cp>Initially debuting in Washington D.C. at the National Mall, and later shown in Baltimore, Maryland and then Tulsa, Oklahoma during the 100th anniversary of the Tulsa Massacre, \u003ca href=\"https://www.societyscage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Society’s Cage\u003c/em>\u003c/a> currently stands in front of Oakland’s City Hall.\u003c/p>\n\u003cp>“It needed to be in the seat of government,” says Randolph Belle, \u003ca href=\"http://www.randolphbelle.com/soa\" target=\"_blank\" rel=\"noopener noreferrer\">Executive Director of Support Oakland Artists\u003c/a>. “Because that’s where all of the policy makers and legislators are who can impact the topics at hand. ”\u003c/p>\n\u003cp>\u003cem>Society’s Cage\u003c/em> is a literal 15′ x 15′ cage, composed of large steel rods and small lights. It is inscribed with names of those who’ve died at the hands of police violence, as well as those whose lives have been dedicated to fighting racism. Standing in the middle of its rods, among its heavy weight, one \u003cem>feels\u003c/em> the heinous displays of race-based hatred this country has shown.\u003c/p>\n\u003cfigure id=\"attachment_13914012\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13914012\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_9857-800x600.jpeg\" alt=\"The rusted steel pipes and electric lights that adorn the Society's Cage art installation.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-800x600.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-1020x765.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-160x120.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-768x576.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-1536x1152.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-2048x1536.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_9857-1920x1440.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rusted steel pipes and electric lights adorn the ‘Society’s Cage’ art installation. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s also mathematically accurate. Created by Dayton Mark Schroeter, Julian Arrington, Monteil Crawley, Ivan O’Garro, the piece’s dimensions draw upon statistics related to inequalities in the criminal justice system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Only a quarter of the rods reach to the ground, reflecting the grim fact that one in four Black Americans will be incarcerated in his or her lifetime,” reads \u003ca href=\"https://www.smithgroup.com/projects/societys-cage-experiential-installation\" target=\"_blank\" rel=\"noopener noreferrer\">the project description\u003c/a>.\u003c/p>\n\u003cp>Belle notes that the walls of the piece represent four of racism’s most horrifying manifestations: \u003cspan style=\"font-weight: 400\">death by lynching, death by police officer, capital punishment and mass incarceration.\u003c/span>\u003c/p>\n\u003cp>There’s an audio aspect to the piece; haunting, recorded sounds of chains, crying and pain. The audio’s duration is exactly 8:46, the amount of time George Floyd struggled for his life while pinned under the knee of former police officer Derek Chauvin.\u003c/p>\n\u003cp>Viewers are asked to hold their breath as they walk through the exhibition, a nod to Floyd’s utterance in his final moments that he couldn’t breathe. Attendees are also asked to read the names and quotes written on the raised platform.\u003c/p>\n\u003cp>After the piece \u003ca href=\"https://www.instagram.com/p/CdVCwWVuJ7w/\" target=\"_blank\" rel=\"noopener noreferrer\">rolled into town\u003c/a> earlier this month, organizers held an \u003cspan style=\"font-weight: 400\">unveiling with the designers and project sponsors\u003c/span>. Subsequently, the piece became a fitting backdrop to protests against the overturning of Roe v. Wade, as well an de facto memorial for the victims of the May 14 mass shooting at a Black neighborhood in Buffalo.\u003c/p>\n\u003cp>“The piece was created in response to white supremacy,” says Belle, who assisted in bringing the artwork to the Bay Area. “It was a tragic coincidence that Society’s Cage was up at that site at the time.”\u003c/p>\n\u003cp>Belle says the piece was made to force audiences to reckon with the pervasive presence of racism in this country. After all, some people might be able to look past racism. But it’s difficult to \u003cem>not\u003c/em> see a huge metal cage.\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>\u003cem>‘Society’s Cage’ is on display at Oakland City Hall through Sunday, May 29. That evening, from 7pm–10pm, a closing reception at the site includes \u003cspan style=\"font-weight: 400\">the project designers\u003c/span>, speakers, Black Panther Party alumni members, musicians Kev Choice and Dame Drummer, Oscar Grant’s uncle Cephus Johnson, illustrator Emory Douglas, Oakland Poet Laureate Ayodele Nzinga, \u003cspan style=\"font-weight: 400\">activist Cat Brooks, Destiny Muhammad, and a host of artists organized by HipHopTV\u003c/span>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information, visit the \u003ca href=\"https://www.societyscage.com/\" target=\"_blank\" rel=\"noopener noreferrer\">‘Society’s Cage’ website\u003c/a> or its \u003ca href=\"https://www.instagram.com/societyscage/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Oakland is Unaffordable—Meet the Hustlers Securing Spaces for Artists",
"headTitle": "Oakland is Unaffordable—Meet the Hustlers Securing Spaces for Artists | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ wellbeing. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When I pulled up to meet Assan Jethmal at \u003ca href=\"https://www.instagram.com/agencyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Agency Oakland\u003c/a> on an April afternoon, he was alone and covered in dust and grime. A pipe had just broken, and water was slowly flooding the ground of the Jingletown art space he co-founded inside a \u003ca href=\"https://www.kqed.org/arts/13905248/agency-the-loom-oakland-endeavors-proarts-peoples-conservatory\" target=\"_blank\" rel=\"noopener noreferrer\">19th-century former cotton mill called The Loom\u003c/a>. [aside postID=\"arts_13913750\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-2-1020x574.jpg\"]\u003c/p>\n\u003cp>Surprisingly calm, Jethmal let me in and quickly disappeared into a back room. A few minutes later he re-emerged; the water leak was fixed. He began to tell me the story of when he immigrated from the Philippines to the Bay Area after finishing high school—then, a handful of artists and community workers appeared.\u003c/p>\n\u003cp>Once again, circumstances required him to pivot.\u003c/p>\n\u003cp>Together, everyone rolled up their sleeves and went to work. I watched in awe, eventually lending a helping hand while trying not to stifle their flow.\u003c/p>\n\u003cp>That hour with Jethmal was a whirlwind of rapid decisions, physical labor and communicative teamwork that turned the industrial warehouse into an intimate gathering space. Agency was now ready for artists Brittany Tanner and Ayesha Walker to facilitate \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>, a musical healing circle for people who’ve experienced the trauma of gun violence. The event is part of a monthly offering from their collective, \u003ca href=\"https://be-imaginative.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BE-IMAGINATIVE\u003c/a>, whom Jethmal and his business partner Rozz Nash have invited to use the space for free.[pullquote size=\"medium\" align=\"right\" citation=\"Rozz Nash, co-founder of Agency Oakland\"]‘We are usually just grasping for crumbs, and that’s why artists leave to other cities. It’s been awesome to dream this up and provide space for others to realize their dreams.’[/pullquote]\u003c/p>\n\u003cp>To an outsider, these efforts might seem like a well-coordinated and fully-funded campaign to support a neighborhood affected by myriad struggles. But in reality, Agency is fueled by a small group of committed individuals who hustle and sacrifice their time and personal funds to bring it to life—with Jethmal and Nash as the anchors.\u003c/p>\n\u003cp>“Artists need space,” says Nash, the founder of \u003ca href=\"https://www.thepeoplesconservatory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Conservatory\u003c/a>, a nonprofit offering culturally competent arts education for young people. “We are usually just grasping for crumbs, and that’s why artists leave to other cities. It’s been awesome to dream this up and provide space for others to realize their dreams. We want to figure it out together.”\u003c/p>\n\u003cp>In Oakland, where real estate is at a premium, Nash and Jethmal are essential conduits who do the often-thankless work of securing venues and resources, making them available for artists and communities who need them most. Their dedication behind the scenes ensures that more Bay Area residents have access to the healing, life-affirming and transformative powers of the arts, even as the fallout of the pandemic continues.\u003c/p>\n\u003cp>“I just want to make sure people are aware of how much support the art and community around Oakland needs,” says Jethmal. “If we had that support, imagine what we can do.”\u003c/p>\n\u003cfigure id=\"attachment_13913831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913831\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_8465-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Janay Masters of Hella Plants Market, Brittany Tanner of the Song Remedy, Assan Jethmal, Ayesha Walker of the Song Remedy and her son. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>2020: Laying the Groundwork From Inside Oakland’s Tribune Tower\u003c/h2>\n\u003cp>Jethmal’s involvement in the local scene began long before the pandemic with \u003ca href=\"https://www.instagram.com/goodmothergallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Good Mother Gallery\u003c/a>, a downtown Oakland venue he helped launch with his brothers, Ian and Jared Jethmal, and friend Calvin Wong in 2015. The four of them felt like outsiders in traditional art institutions. But through word of mouth, they quickly built a following for their underground aesthetic and anything-goes vibe. Years later, Good Mother remains a fixture even after the pandemic forced numerous small business closures in the neighborhood.\u003c/p>\n\u003cp>When COVID shutdowns began, Jethmal took the opportunity to create a fresh blueprint with a squad of his homies and business partners. He and Marisol Luna started \u003ca href=\"https://www.endeavors-oakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Endeavors Oakland\u003c/a>, an initiative to support local Black and Brown artists and small businesses. With a few acclaimed projects and exhibits under their belt, they gave back as much as they could—and received due props from the Bay Area’s premier art makers.\u003c/p>\n\u003cp>https://www.instagram.com/p/CQ1aZ0vBHyL/\u003c/p>\n\u003cp>In late 2020, when indoor gatherings were still off the table and artists found themselves in dire financial straits, Endeavors began throwing maker markets and hip-hop shows in the empty lot outside the Tribune Tower—just across the street from Good Mother. The COVID-safe events were a success. And, crucially, the owners of the Tribune Tower, \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2022/02/01/highbridge-equity-partners-oakland-office.html\" target=\"_blank\" rel=\"noopener noreferrer\">Highbridge Equity Partners\u003c/a>, saw that Jethmal was turning their forgotten parcel into a hub of concentrated artistry. [aside postID=\"arts_13901928\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/DSC01309-1020x682.jpg\"]\u003c/p>\n\u003cp>These low-key get-togethers at The Lot were the first in a steady chain of victories for Oakland artists. When Highbridge gave Jethmal the keys to the Tribune Tower’s empty fifth floor, he assembled an elite squad of six artists—including \u003ca href=\"https://www.kqed.org/arts/13901928/rightnowish-rachel-wolfe-goldsmith\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe-Goldsmith\u003c/a> and graffiti legend Vogue TDK—to paint the walls and turn the experience into an interactive art tour and, eventually, \u003ca href=\"https://www.kqed.org/arts/13897823/nft-artists-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">an NFT\u003c/a>. The project brought together local organizations like the Bay Area Mural Program and Black Terminus, an augmented reality app that digitally documents Black stories in Oakland’s history.\u003c/p>\n\u003cp>From the beginning, Jethmal and his people insisted on being part of the decision-making process with Highbridge. “We demanded to be a part of the conversation and build with them, rather than them just letting us borrow it for one-time use,” he says.\u003c/p>\n\u003cp>“Now more than ever, we can make an impact that sticks,” he continues. “During the pandemic, it was a free-for-all, no one knew what to do. But that gave us an opportunity to literally create change. We defined new norms about community and how to support each other.”\u003c/p>\n\u003cfigure id=\"attachment_13913832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Assan Jethmal gets the space ready for an elementary school science fair on May 13, 2022 at Agency Oakland. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the Bay Area, social capital is currency. By building relationships with the right people, Jethmal and his team have proven that access is possible, even without endlessly deep pockets. Property owners like Highbridge—who also own The Loom, the 200,000-square-foot former factory that houses Agency Oakland—are exchanging their space for community trust. In turn, artists and communities are gaining access to resources to thrive in a competitively overpriced market.\u003c/p>\n\u003cp>But, in Jethmal’s eyes, there is still much work to be done.\u003c/p>\n\u003ch2>2021: An Immersive Art Experience For and By the Community\u003c/h2>\n\u003cp>In what was personally my favorite art experience during the pandemic, \u003ci>Homebody\u003c/i> came to define what art and community could look like in a socially-distanced world through the use of QR codes, projection technology and dope ideation. But it wasn’t easy. [pullquote size=\"medium\" align=\"right\" citation=\"Allison Torneros, a.k.a. Hueman\"]‘Companies [have been] dedicating huge budgets to reviving the work of old dead white guys, and that didn’t sit well with me. Why don’t you invest in living artists who are making a statement and providing a space for the community to heal?’[/pullquote]\u003c/p>\n\u003cp>The immersive show centered on the otherworldly paintings of \u003ca href=\"http://www.huemannature.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Allison Torneros\u003c/a>, \u003ca href=\"https://www.7x7.com/oakland-artist-hueman-2656932715.html\" target=\"_blank\" rel=\"noopener noreferrer\">better known as Hueman\u003c/a>. She’s a Filipina visual artist from the East Bay whose work has been featured on Steph Curry’s signature sneakers, Lyft Bikes and public walls in Sweden, Haiti and beyond.\u003c/p>\n\u003cp>It’s no surprise that \u003ci>Homebody\u003c/i> became one of the most talked-out experiences in the Bay when it ran from January through February of this year. It featured paintings and sculptures animated by augmented reality and projection mapping, and guest performances from beloved Bay Area musicians like Goapele and Ruby Ibarra. From all accounts, the show was a banger, appearing in \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2022/01/31/immersive-exhibitions-are-big-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Business Times\u003c/em>’ coverage of best immersive art experiences\u003c/a> alongside Van Gogh, Picasso and Banksy.\u003c/p>\n\u003cp>Yet unlike the well-resourced, touring Van Gogh and Picasso shows, \u003ci>Homebody\u003c/i> was homegrown out the mud by the people, for the people.\u003c/p>\n\u003cp>“This was all of our first time figuring it out as we went along,” says Torneros, who began working with Jethmal and Endeavors Oakland in 2020. “Companies [have been] dedicating huge budgets to reviving the work of old dead white guys, and that didn’t sit well with me. Why don’t you invest in living artists who are making a statement and providing a space for the community to heal?”\u003c/p>\n\u003cp>Her frustration isn’t uncommon. Every Bay Area artist I’ve spoken to feels similarly—how do independent creators receive the support they need to be seen and heard?\u003c/p>\n\u003cp>In the case of \u003ci>Homebody\u003c/i>, a fellow East Bay Filipina, Cecilia Caparas Apelin, rented out her venue—\u003ca href=\"https://cielcreativespace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ciel Creative Space\u003c/a>—at a reduced cost for Torneros’ and Jethmal’s plans to manifest. The 40,000-square-foot creative sanctuary and production studio is typically booked up through the year.\u003c/p>\n\u003cp>“You want to make sure people are getting paid what they’re worth, so operating costs were our biggest challenge,” Tornernos says. “But the vision was so strong and unique that people were willing to bring their costs down to be a part of it. Many people did. Our vendors graciously lowered their costs to be able to get involved with us.”\u003c/p>\n\u003cfigure id=\"attachment_13913836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913836\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/hueman-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Torneros (center), a.k.a. Hueman, welcomes visitors to her exhibition, ‘Homebody.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Making \u003ci>Homebody\u003c/i> happen required a lot of bartering, trading and freestyling. Local vendors like Elevate Productions, A3 Visuals, Pixl Prints and Mobius Acoustics provided equipment at largely discounted rates. Torneros paid out of her own pocket for other supplies and assembly costs. Jethmal—along with a dedicated group of volunteers, including Nash—gave months of their time to make everything happen, helping with planning and execution, and even welcoming visitors.\u003c/p>\n\u003cp>Despite charging $50 for admission (which included drinks and musical performances), Jethmal says the show’s organizers didn’t break even, and the funds were instead used to partially pay back Ciel Creative Spaces. Still, to the organizers and audiences alike, the ability to come together and experience something fresh during a time of pandemic grief and disconnect was priceless—and proved what can be done even without major resources.\u003c/p>\n\u003cp>Tremendous trade-offs took place for this wildly interconnected machinery to function—ones that traditional institutions would never have to consider. In one case, rising local rapper Mani Draper was given exclusive access to film his latest music video using \u003ci>Homebody\u003c/i> as a backdrop without any rental fee or restrictions. In return, Draper performed a live set as part of the exhibit.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tqLuofZi46o\u003c/p>\n\u003cp>Because a cascade of volunteers and organizers turned the inside of that studio into an SFMOMA-worthy exhibition, major organizations stepped up to support the project. The Golden State Warriors sponsored private tours for high school students, and the Westfield San Francisco Centre offered free ad space. Currently, there are talks of bringing \u003ci>Homebody\u003c/i> to Los Angeles in what Torneros envisions as a potential tour.\u003c/p>\n\u003ch2>2022: Taking ‘Agency’ to Make Change\u003c/h2>\n\u003cp>Now that \u003ci>Homebody\u003c/i> is over for the time being, Jethmal and Nash are focused on making Agency flourish. For artists like Brittany Tanner of Song Remedy, the space is crucial for their vision of art in service of the people. “We just prayed that we would get a space, and two weeks later, we saw that [Agency] had an opening,” says Tanner, who once was an elementary school choir teacher and is now a member of the band SOL Development.\u003c/p>\n\u003cp>To advocates like her—who can’t always afford the thousands of dollars required to rent most venues—Agency has been a lifeline. She gets to use the space, and, in return, the community has an opportunity to support one another in a way that cultivates future artists, clients and partners.\u003c/p>\n\u003cp>According to Jethmal, Agency is about “culture preserving” and “being a resource [for those who] never get taken care of.”\u003c/p>\n\u003cfigure id=\"attachment_13913833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rozz Nash moves furniture around to prepare Agency Oakland for an elementary school science fair on May 13, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Agency is gradually expanding. On May 21, they hosted a \u003ca href=\"https://www.instagram.com/p/Cd1ncarvsTK/\" target=\"_blank\" rel=\"noopener noreferrer\">record swap and maker market\u003c/a> organized by local collectives Lower Grand Radio and spaz.radio. On May 22, they held a \u003ca href=\"https://www.instagram.com/p/Cd2N_0duOKy/\" target=\"_blank\" rel=\"noopener noreferrer\">Warriors watch party\u003c/a> that raised money for the family of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\" target=\"_blank\" rel=\"noopener noreferrer\">Jun Anabo\u003c/a>, the beloved restaurant owner who was recently killed in a shooting. This summer, Nash and Assan want to build small, affordable studios for visual artists, and branch out towards small festivals like Tupac Day. That’ll happen on June 18, just two days after Pac’s birthday, in collaboration with Money B from the Digital Underground, and Mystic—two musicians with whom Tupac worked closely.\u003c/p>\n\u003cp>“We want to support all disciplines of art,” says Nash. “We’ll be offering a daily membership workspace so that media artists, sculptors, painters and others can work and collaborate and build and present together. That’s what we’re about.” [aside postID=\"arts_13913584\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg\"]\u003c/p>\n\u003cp>Many of these efforts will be debuting under the name “ArtWork.” Nash and Jethmal want to build a recording studio within the next year if all goes according to plan, along with other “activations.”\u003c/p>\n\u003cp>“It’s all been so serendipitous [for us] during the pandemic,” Jethmal says. “If you put things out into the universe, it makes a ripple… [We’re] starting small, with community and culture at the forefront.”\u003c/p>\n\u003cp>Jethmal rejects any individual credit, and is quick to praise those he works with instead. But he and his squad have been putting together a praiseworthy movement that has grown over the past half-decade. It’s one that promises to put essential voices in the room despite the high costs of creating in the Bay Area. Just take a look around, and you’ll see what they’ve already painted and built all over The Town.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Assan Jethmal and Rozz Nash do the often thankless behind-the-scenes work of ensuring artists have places to thrive.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ wellbeing. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>When I pulled up to meet Assan Jethmal at \u003ca href=\"https://www.instagram.com/agencyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Agency Oakland\u003c/a> on an April afternoon, he was alone and covered in dust and grime. A pipe had just broken, and water was slowly flooding the ground of the Jingletown art space he co-founded inside a \u003ca href=\"https://www.kqed.org/arts/13905248/agency-the-loom-oakland-endeavors-proarts-peoples-conservatory\" target=\"_blank\" rel=\"noopener noreferrer\">19th-century former cotton mill called The Loom\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Surprisingly calm, Jethmal let me in and quickly disappeared into a back room. A few minutes later he re-emerged; the water leak was fixed. He began to tell me the story of when he immigrated from the Philippines to the Bay Area after finishing high school—then, a handful of artists and community workers appeared.\u003c/p>\n\u003cp>Once again, circumstances required him to pivot.\u003c/p>\n\u003cp>Together, everyone rolled up their sleeves and went to work. I watched in awe, eventually lending a helping hand while trying not to stifle their flow.\u003c/p>\n\u003cp>That hour with Jethmal was a whirlwind of rapid decisions, physical labor and communicative teamwork that turned the industrial warehouse into an intimate gathering space. Agency was now ready for artists Brittany Tanner and Ayesha Walker to facilitate \u003ca href=\"https://thesongremedy.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Song Remedy\u003c/a>, a musical healing circle for people who’ve experienced the trauma of gun violence. The event is part of a monthly offering from their collective, \u003ca href=\"https://be-imaginative.org/\" target=\"_blank\" rel=\"noopener noreferrer\">BE-IMAGINATIVE\u003c/a>, whom Jethmal and his business partner Rozz Nash have invited to use the space for free.\u003c/p>\u003c/div>",
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"content": "‘We are usually just grasping for crumbs, and that’s why artists leave to other cities. It’s been awesome to dream this up and provide space for others to realize their dreams.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To an outsider, these efforts might seem like a well-coordinated and fully-funded campaign to support a neighborhood affected by myriad struggles. But in reality, Agency is fueled by a small group of committed individuals who hustle and sacrifice their time and personal funds to bring it to life—with Jethmal and Nash as the anchors.\u003c/p>\n\u003cp>“Artists need space,” says Nash, the founder of \u003ca href=\"https://www.thepeoplesconservatory.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The People’s Conservatory\u003c/a>, a nonprofit offering culturally competent arts education for young people. “We are usually just grasping for crumbs, and that’s why artists leave to other cities. It’s been awesome to dream this up and provide space for others to realize their dreams. We want to figure it out together.”\u003c/p>\n\u003cp>In Oakland, where real estate is at a premium, Nash and Jethmal are essential conduits who do the often-thankless work of securing venues and resources, making them available for artists and communities who need them most. Their dedication behind the scenes ensures that more Bay Area residents have access to the healing, life-affirming and transformative powers of the arts, even as the fallout of the pandemic continues.\u003c/p>\n\u003cp>“I just want to make sure people are aware of how much support the art and community around Oakland needs,” says Jethmal. “If we had that support, imagine what we can do.”\u003c/p>\n\u003cfigure id=\"attachment_13913831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913831\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/IMG_8465-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/IMG_8465-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Janay Masters of Hella Plants Market, Brittany Tanner of the Song Remedy, Assan Jethmal, Ayesha Walker of the Song Remedy and her son. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>2020: Laying the Groundwork From Inside Oakland’s Tribune Tower\u003c/h2>\n\u003cp>Jethmal’s involvement in the local scene began long before the pandemic with \u003ca href=\"https://www.instagram.com/goodmothergallery/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Good Mother Gallery\u003c/a>, a downtown Oakland venue he helped launch with his brothers, Ian and Jared Jethmal, and friend Calvin Wong in 2015. The four of them felt like outsiders in traditional art institutions. But through word of mouth, they quickly built a following for their underground aesthetic and anything-goes vibe. Years later, Good Mother remains a fixture even after the pandemic forced numerous small business closures in the neighborhood.\u003c/p>\n\u003cp>When COVID shutdowns began, Jethmal took the opportunity to create a fresh blueprint with a squad of his homies and business partners. He and Marisol Luna started \u003ca href=\"https://www.endeavors-oakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Endeavors Oakland\u003c/a>, an initiative to support local Black and Brown artists and small businesses. With a few acclaimed projects and exhibits under their belt, they gave back as much as they could—and received due props from the Bay Area’s premier art makers.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late 2020, when indoor gatherings were still off the table and artists found themselves in dire financial straits, Endeavors began throwing maker markets and hip-hop shows in the empty lot outside the Tribune Tower—just across the street from Good Mother. The COVID-safe events were a success. And, crucially, the owners of the Tribune Tower, \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2022/02/01/highbridge-equity-partners-oakland-office.html\" target=\"_blank\" rel=\"noopener noreferrer\">Highbridge Equity Partners\u003c/a>, saw that Jethmal was turning their forgotten parcel into a hub of concentrated artistry. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These low-key get-togethers at The Lot were the first in a steady chain of victories for Oakland artists. When Highbridge gave Jethmal the keys to the Tribune Tower’s empty fifth floor, he assembled an elite squad of six artists—including \u003ca href=\"https://www.kqed.org/arts/13901928/rightnowish-rachel-wolfe-goldsmith\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Wolfe-Goldsmith\u003c/a> and graffiti legend Vogue TDK—to paint the walls and turn the experience into an interactive art tour and, eventually, \u003ca href=\"https://www.kqed.org/arts/13897823/nft-artists-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">an NFT\u003c/a>. The project brought together local organizations like the Bay Area Mural Program and Black Terminus, an augmented reality app that digitally documents Black stories in Oakland’s history.\u003c/p>\n\u003cp>From the beginning, Jethmal and his people insisted on being part of the decision-making process with Highbridge. “We demanded to be a part of the conversation and build with them, rather than them just letting us borrow it for one-time use,” he says.\u003c/p>\n\u003cp>“Now more than ever, we can make an impact that sticks,” he continues. “During the pandemic, it was a free-for-all, no one knew what to do. But that gave us an opportunity to literally create change. We defined new norms about community and how to support each other.”\u003c/p>\n\u003cfigure id=\"attachment_13913832\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913832\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Assan Jethmal gets the space ready for an elementary school science fair on May 13, 2022 at Agency Oakland. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the Bay Area, social capital is currency. By building relationships with the right people, Jethmal and his team have proven that access is possible, even without endlessly deep pockets. Property owners like Highbridge—who also own The Loom, the 200,000-square-foot former factory that houses Agency Oakland—are exchanging their space for community trust. In turn, artists and communities are gaining access to resources to thrive in a competitively overpriced market.\u003c/p>\n\u003cp>But, in Jethmal’s eyes, there is still much work to be done.\u003c/p>\n\u003ch2>2021: An Immersive Art Experience For and By the Community\u003c/h2>\n\u003cp>In what was personally my favorite art experience during the pandemic, \u003ci>Homebody\u003c/i> came to define what art and community could look like in a socially-distanced world through the use of QR codes, projection technology and dope ideation. But it wasn’t easy. \u003c/p>\u003c/div>",
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"content": "‘Companies [have been] dedicating huge budgets to reviving the work of old dead white guys, and that didn’t sit well with me. Why don’t you invest in living artists who are making a statement and providing a space for the community to heal?’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The immersive show centered on the otherworldly paintings of \u003ca href=\"http://www.huemannature.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Allison Torneros\u003c/a>, \u003ca href=\"https://www.7x7.com/oakland-artist-hueman-2656932715.html\" target=\"_blank\" rel=\"noopener noreferrer\">better known as Hueman\u003c/a>. She’s a Filipina visual artist from the East Bay whose work has been featured on Steph Curry’s signature sneakers, Lyft Bikes and public walls in Sweden, Haiti and beyond.\u003c/p>\n\u003cp>It’s no surprise that \u003ci>Homebody\u003c/i> became one of the most talked-out experiences in the Bay when it ran from January through February of this year. It featured paintings and sculptures animated by augmented reality and projection mapping, and guest performances from beloved Bay Area musicians like Goapele and Ruby Ibarra. From all accounts, the show was a banger, appearing in \u003ca href=\"https://www.bizjournals.com/sanfrancisco/news/2022/01/31/immersive-exhibitions-are-big-business.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>San Francisco Business Times\u003c/em>’ coverage of best immersive art experiences\u003c/a> alongside Van Gogh, Picasso and Banksy.\u003c/p>\n\u003cp>Yet unlike the well-resourced, touring Van Gogh and Picasso shows, \u003ci>Homebody\u003c/i> was homegrown out the mud by the people, for the people.\u003c/p>\n\u003cp>“This was all of our first time figuring it out as we went along,” says Torneros, who began working with Jethmal and Endeavors Oakland in 2020. “Companies [have been] dedicating huge budgets to reviving the work of old dead white guys, and that didn’t sit well with me. Why don’t you invest in living artists who are making a statement and providing a space for the community to heal?”\u003c/p>\n\u003cp>Her frustration isn’t uncommon. Every Bay Area artist I’ve spoken to feels similarly—how do independent creators receive the support they need to be seen and heard?\u003c/p>\n\u003cp>In the case of \u003ci>Homebody\u003c/i>, a fellow East Bay Filipina, Cecilia Caparas Apelin, rented out her venue—\u003ca href=\"https://cielcreativespace.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Ciel Creative Space\u003c/a>—at a reduced cost for Torneros’ and Jethmal’s plans to manifest. The 40,000-square-foot creative sanctuary and production studio is typically booked up through the year.\u003c/p>\n\u003cp>“You want to make sure people are getting paid what they’re worth, so operating costs were our biggest challenge,” Tornernos says. “But the vision was so strong and unique that people were willing to bring their costs down to be a part of it. Many people did. Our vendors graciously lowered their costs to be able to get involved with us.”\u003c/p>\n\u003cfigure id=\"attachment_13913836\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913836\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/hueman-1-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/hueman-1-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allison Torneros (center), a.k.a. Hueman, welcomes visitors to her exhibition, ‘Homebody.’ \u003ccite>(Nastia Voynovskaya)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Making \u003ci>Homebody\u003c/i> happen required a lot of bartering, trading and freestyling. Local vendors like Elevate Productions, A3 Visuals, Pixl Prints and Mobius Acoustics provided equipment at largely discounted rates. Torneros paid out of her own pocket for other supplies and assembly costs. Jethmal—along with a dedicated group of volunteers, including Nash—gave months of their time to make everything happen, helping with planning and execution, and even welcoming visitors.\u003c/p>\n\u003cp>Despite charging $50 for admission (which included drinks and musical performances), Jethmal says the show’s organizers didn’t break even, and the funds were instead used to partially pay back Ciel Creative Spaces. Still, to the organizers and audiences alike, the ability to come together and experience something fresh during a time of pandemic grief and disconnect was priceless—and proved what can be done even without major resources.\u003c/p>\n\u003cp>Tremendous trade-offs took place for this wildly interconnected machinery to function—ones that traditional institutions would never have to consider. In one case, rising local rapper Mani Draper was given exclusive access to film his latest music video using \u003ci>Homebody\u003c/i> as a backdrop without any rental fee or restrictions. In return, Draper performed a live set as part of the exhibit.\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/tqLuofZi46o'\n title='//www.youtube.com/embed/tqLuofZi46o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because a cascade of volunteers and organizers turned the inside of that studio into an SFMOMA-worthy exhibition, major organizations stepped up to support the project. The Golden State Warriors sponsored private tours for high school students, and the Westfield San Francisco Centre offered free ad space. Currently, there are talks of bringing \u003ci>Homebody\u003c/i> to Los Angeles in what Torneros envisions as a potential tour.\u003c/p>\n\u003ch2>2022: Taking ‘Agency’ to Make Change\u003c/h2>\n\u003cp>Now that \u003ci>Homebody\u003c/i> is over for the time being, Jethmal and Nash are focused on making Agency flourish. For artists like Brittany Tanner of Song Remedy, the space is crucial for their vision of art in service of the people. “We just prayed that we would get a space, and two weeks later, we saw that [Agency] had an opening,” says Tanner, who once was an elementary school choir teacher and is now a member of the band SOL Development.\u003c/p>\n\u003cp>To advocates like her—who can’t always afford the thousands of dollars required to rent most venues—Agency has been a lifeline. She gets to use the space, and, in return, the community has an opportunity to support one another in a way that cultivates future artists, clients and partners.\u003c/p>\n\u003cp>According to Jethmal, Agency is about “culture preserving” and “being a resource [for those who] never get taken care of.”\u003c/p>\n\u003cfigure id=\"attachment_13913833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913833\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/20220513_Agency_RozzAssan-21.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rozz Nash moves furniture around to prepare Agency Oakland for an elementary school science fair on May 13, 2022. \u003ccite>(Amaya Edwards)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Agency is gradually expanding. On May 21, they hosted a \u003ca href=\"https://www.instagram.com/p/Cd1ncarvsTK/\" target=\"_blank\" rel=\"noopener noreferrer\">record swap and maker market\u003c/a> organized by local collectives Lower Grand Radio and spaz.radio. On May 22, they held a \u003ca href=\"https://www.instagram.com/p/Cd2N_0duOKy/\" target=\"_blank\" rel=\"noopener noreferrer\">Warriors watch party\u003c/a> that raised money for the family of \u003ca href=\"https://www.kqed.org/arts/13913828/jun-anabo-lucky-three-seven-filipino-oakland-eulogy\" target=\"_blank\" rel=\"noopener noreferrer\">Jun Anabo\u003c/a>, the beloved restaurant owner who was recently killed in a shooting. This summer, Nash and Assan want to build small, affordable studios for visual artists, and branch out towards small festivals like Tupac Day. That’ll happen on June 18, just two days after Pac’s birthday, in collaboration with Money B from the Digital Underground, and Mystic—two musicians with whom Tupac worked closely.\u003c/p>\n\u003cp>“We want to support all disciplines of art,” says Nash. “We’ll be offering a daily membership workspace so that media artists, sculptors, painters and others can work and collaborate and build and present together. That’s what we’re about.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Many of these efforts will be debuting under the name “ArtWork.” Nash and Jethmal want to build a recording studio within the next year if all goes according to plan, along with other “activations.”\u003c/p>\n\u003cp>“It’s all been so serendipitous [for us] during the pandemic,” Jethmal says. “If you put things out into the universe, it makes a ripple… [We’re] starting small, with community and culture at the forefront.”\u003c/p>\n\u003cp>Jethmal rejects any individual credit, and is quick to praise those he works with instead. But he and his squad have been putting together a praiseworthy movement that has grown over the past half-decade. It’s one that promises to put essential voices in the room despite the high costs of creating in the Bay Area. Just take a look around, and you’ll see what they’ve already painted and built all over The Town.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Remembering Lucky Three Seven’s Jun Anabo, a ‘Pare’ for All of Oakland",
"headTitle": "Remembering Lucky Three Seven’s Jun Anabo, a ‘Pare’ for All of Oakland | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Artgel Fernando “Jun” Anabo Jr., the co-owner of one of Oakland’s most popular Filipino restaurants, was shot and killed last Wednesday night. He had been standing in front of the restaurant, \u003c/span>\u003ca href=\"https://www.instagram.com/luckythreeseven/\">\u003cspan style=\"font-weight: 400\">Lucky Three Seven\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with his 11-year-old son Kiah \u003c/span>\u003ca href=\"https://www.sfchronicle.com/crime/article/Co-owner-of-beloved-Oakland-Filipino-restaurant-17184101.php#photo-22498128\">\u003cspan style=\"font-weight: 400\">when gunfire erupted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Anabo died at Highland Hospital shortly thereafter. He was 39 years old.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born and raised in Oakland, Anabo was a sound engineer by trade before getting into the restaurant business. He loved to blast hip-hop and throw big, rollicking block parties in the stretch of East Oakland where the restaurant’s bright-red facade is located, at the corner of Fruitvale and Brookdale avenues. Friends and family members describe him as an incredible father and a neighborhood fixture—the type of person who was always willing to lend a hand, who always put his Oakland community and Filipino community first. You’d rarely ever see him without a big smile on his face.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I \u003c/span>\u003ca href=\"https://eastbayexpress.com/feeling-lucky-1/\">\u003cspan style=\"font-weight: 400\">reviewed\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Lucky Three Seven a few months after it opened in 2013, I wrote that Anabo had “an easy swagger and a street-hawker’s gift of gab.” Over the years, every time I called to ask about some news about the restaurant, Anabo would say at least two or three things that made me laugh out loud. “What are you, a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">saint\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">?” he blurted one time, when I told him he shouldn’t try to give me free food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For several months, Anabo was mildly obsessed with the fact that he didn’t know what I looked like, since I’d only eaten at the restaurant as an anonymous critic. “Was that you? Were you just here?” he would text me out of the blue. “Did you just pick up an order of lumpia?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mark Legaspi, Anabo’s cousin and fellow Lucky Three Seven co-owner, says that was just the kind of energy that he always had. Anabo was the youngest in their group of cousins who grew up together, inseparable, in Oakland and Alameda. As a kid, he was a “jokester,” Legaspi says. A child of the ’80s, he loved \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Karate Kid\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> more than anything—he would dress up in a gi and imitate the karate moves from the movie.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later, when they became partners at Lucky Three Seven, Legaspi was more involved with the cooking and recipe development, while Anabo handled the finances and business operations. The two would sometimes butt heads, as cousins do, but never argued for long. What Legaspi admired most was his cousin’s “crazy mind” and how well he worked with his hands—the way Anabo was able to MacGyver homemade designs for the restaurant, like its custom sound system, which he built using a car stereo. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913841\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/luckythreeseven_memorial.jpg\" alt=\"A memorial to Jun Anaba, with flowers, candles and photos, set up outside Lucky Three Seven restaurant.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A memorial to Anabo set up in front of Lucky Three Seven. The restaurant was closed over the weekend as Anabo’s family grieved his death. \u003ccite>(Brian Watt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edward Wooley, a.k.a. \u003c/span>\u003ca href=\"https://www.instagram.com/chefsmelly/\">\u003cspan style=\"font-weight: 400\">Chef Smelly\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, says he met Anabo about six years ago. After seeing each other on Instagram for years, as part of the broader Oakland food community, Wooley finally stopped by Lucky Three Seven to introduce himself. “They accepted me as a brother,” Wooley says of Anabo and his crew. Every time he came by to pick up food, Anabo and Legaspi would sit him down inside the restaurant’s cramped interior and offer him a shot of Hennessy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would have been the same for me, if I’d ever had the chance to introduce myself to Anabo properly, Wooley tells me. He would have treated me like family too: “He’d say, ‘Come on in! Come have a shot! Do you want to smoke a blunt?’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was just a nice, genuine dude,” Wooley says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anabo and Legaspi were also pioneers in the \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/filipino-food-restaurants-hayward-union-city-16969628.php\">\u003cspan style=\"font-weight: 400\">East Bay’s now-thriving Filipino food scene\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The restaurant predated the current wave of trendy Filipino restaurants that have crossed over into mainstream popularity, bringing old-school “turo-turo” (or “point-point”) style steam table fare to a new audience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Lucky Three Seven became an introduction for Oakland to real Filipino food,” says Filipino American rapper \u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\" target=\"_blank\" rel=\"noopener noreferrer\">Dustin “Nump” Perfetto\u003c/a>, a close friend of Anabo’s. “It’s a big staple in The Town, and it really helped other Filipino brands get exposure.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, the restaurant is a place where purists can find a homey, genuinely pungent version of oxtail kare-kare, but it’s also where newcomers to the cuisine can enjoy crowd pleasers like the spicy G-Fire wings or the jumbo-size lumpia. It has always been a true neighborhood joint, beloved by folks of all different cultural backgrounds. (“I think Black people went there the most,” Wooley says.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913850\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913850\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/jun_son2.jpg\" alt=\"A boy holds a wad of cash underneath his chin while his father looks on to the side.\" width=\"621\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/jun_son2.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/jun_son2-160x199.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">Anabo and his son Kiah were like best friends. \u003ccite>(Photo courtesy of Mark Legaspi and family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Much of the reason why the restaurant has been embraced by so many different communities had to do with Anabo—gregarious, charismatic, a man of the people.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was my ‘pare,’ my partner, a day-one supporter of anything I did,” says Perfetto, using the Tagalog term for a close male friend. “His love was so big; this boy had the biggest heart. I’ve never seen him not help another person.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s why Anabo came up with the idea of having an entire day every year, right before Christmas, when Lucky Three Seven would give away free food to the community. It’s why the restaurant routinely collected donations of school supplies to give away to Oakland youth. And, Perfetto says, it’s also why Anabo would talk all the time about how much he wanted Filipinos and Filipino Americans to come together—“uniting so the culture could blow the fuck up.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was for the hood, for the homies,” Perfetto says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“’What does this business do for the people?’” says Evan Kidera, co-owner of the Filipino American fusion burrito spot \u003c/span>\u003ca href=\"https://www.senorsisig.com/\">\u003cspan style=\"font-weight: 400\">Señor Sisig\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was close with both Anabo and Legaspi. “That’s how he lived his life.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Dustin 'Nump' Perfetto\"]“[Jun’s] love was so big … I’ve never seen him not help another person.”[/pullquote]Co Pollard, who runs a barbecue and \u003c/span>\u003ca href=\"https://eastbayexpress.com/east-oaklands-grilled-links-kings-1/\">\u003cspan style=\"font-weight: 400\">grilled links business\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> called \u003c/span>\u003ca href=\"https://www.instagram.com/hotdogco/\">\u003cspan style=\"font-weight: 400\">Hotdogco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, first met Anabo as a Lucky Three Seven customer. Soon, the two began meeting up at the local Restaurant Depot to do their shopping, talk about how business was going and “swap education,” Pollard says. As it turns out, his son and Anabo’s son Kiah are good friends who have been in the same class since kindergarten—the running joke among the teachers was that if you had Lucky Three Seven and Hotdogco in the same class, you could expect to get the hook-up with delicious food every day.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Pollard, that’s the deepest tragedy of Anabo’s death. “I’m just torn up for his son,” Pollard says. “The bond they had, everybody could see it. He was his best friend.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Everyone who knew Anabo talked about how great of a dad he was, and how close the father and son were. “His son was with him, always. You knew his son was his world,” Señor Sisig’s Kidera says. “That’s the next level of heartbreak.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anabo’s family has set up a \u003c/span>\u003ca href=\"https://www.gofundme.com/f/my-brothers-wish-for-kiah?utm_campaign=p_cp+share-sheet&utm_medium=copy_link_all&utm_source=customer\">\u003cspan style=\"font-weight: 400\">GoFundMe fundraiser\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to provide for Kiah’s future, setting a target goal of $20,000. As of this posting, it has received more than $95,000 in donations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13901303,arts_13900855,arts_13898436']For now, Lucky Three Seven has closed its doors as Anabo’s family members recover from the shock of his death. “We have entered a time of uncertainty,” the restaurant wrote in an \u003c/span>\u003ca href=\"https://www.instagram.com/p/Cdu4mo2urNE/\">\u003cspan style=\"font-weight: 400\">Instagram post\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. “And although Jun would want us to keep it moving and keep it pushing … we find ourselves lost without him.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant remained closed over the weekend, with a small memorial for Anabo covered with flowers and candles set up in front. Meanwhile, the investigation into Anabo’s shooting is ongoing, and the Oakland Police Department has yet to make any arrests.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Legaspi, for his part, vows to honor his cousin’s memory by making Lucky Three Seven even bigger and better. “I’m going to make [Jun] proud,” Legaspi says. “I’m going to keep these doors open. And everything I make, it’s going to be with me and his son. So his son’s going to be taken care of.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Alan Chazaro contributed reporting for this story.\u003c/span>\u003c/i>\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>\u003cem>\u003ca href=\"https://www.instagram.com/luckythreeseven/\">Lucky Three Seven\u003c/a> is located at 2868 Fruitvale Ave. in Oakland.\u003c/em>\u003c/p>\n\n",
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"headline": "Remembering Lucky Three Seven’s Jun Anabo, a ‘Pare’ for All of Oakland",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Artgel Fernando “Jun” Anabo Jr., the co-owner of one of Oakland’s most popular Filipino restaurants, was shot and killed last Wednesday night. He had been standing in front of the restaurant, \u003c/span>\u003ca href=\"https://www.instagram.com/luckythreeseven/\">\u003cspan style=\"font-weight: 400\">Lucky Three Seven\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, with his 11-year-old son Kiah \u003c/span>\u003ca href=\"https://www.sfchronicle.com/crime/article/Co-owner-of-beloved-Oakland-Filipino-restaurant-17184101.php#photo-22498128\">\u003cspan style=\"font-weight: 400\">when gunfire erupted\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Anabo died at Highland Hospital shortly thereafter. He was 39 years old.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Born and raised in Oakland, Anabo was a sound engineer by trade before getting into the restaurant business. He loved to blast hip-hop and throw big, rollicking block parties in the stretch of East Oakland where the restaurant’s bright-red facade is located, at the corner of Fruitvale and Brookdale avenues. Friends and family members describe him as an incredible father and a neighborhood fixture—the type of person who was always willing to lend a hand, who always put his Oakland community and Filipino community first. You’d rarely ever see him without a big smile on his face.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When I \u003c/span>\u003ca href=\"https://eastbayexpress.com/feeling-lucky-1/\">\u003cspan style=\"font-weight: 400\">reviewed\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> Lucky Three Seven a few months after it opened in 2013, I wrote that Anabo had “an easy swagger and a street-hawker’s gift of gab.” Over the years, every time I called to ask about some news about the restaurant, Anabo would say at least two or three things that made me laugh out loud. “What are you, a \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">saint\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">?” he blurted one time, when I told him he shouldn’t try to give me free food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For several months, Anabo was mildly obsessed with the fact that he didn’t know what I looked like, since I’d only eaten at the restaurant as an anonymous critic. “Was that you? Were you just here?” he would text me out of the blue. “Did you just pick up an order of lumpia?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mark Legaspi, Anabo’s cousin and fellow Lucky Three Seven co-owner, says that was just the kind of energy that he always had. Anabo was the youngest in their group of cousins who grew up together, inseparable, in Oakland and Alameda. As a kid, he was a “jokester,” Legaspi says. A child of the ’80s, he loved \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Karate Kid\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> more than anything—he would dress up in a gi and imitate the karate moves from the movie.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Later, when they became partners at Lucky Three Seven, Legaspi was more involved with the cooking and recipe development, while Anabo handled the finances and business operations. The two would sometimes butt heads, as cousins do, but never argued for long. What Legaspi admired most was his cousin’s “crazy mind” and how well he worked with his hands—the way Anabo was able to MacGyver homemade designs for the restaurant, like its custom sound system, which he built using a car stereo. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913841\" class=\"wp-caption aligncenter\" style=\"max-width: 2048px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913841\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/luckythreeseven_memorial.jpg\" alt=\"A memorial to Jun Anaba, with flowers, candles and photos, set up outside Lucky Three Seven restaurant.\" width=\"2048\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/luckythreeseven_memorial-1920x1080.jpg 1920w\" sizes=\"(max-width: 2048px) 100vw, 2048px\">\u003cfigcaption class=\"wp-caption-text\">A memorial to Anabo set up in front of Lucky Three Seven. The restaurant was closed over the weekend as Anabo’s family grieved his death. \u003ccite>(Brian Watt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Edward Wooley, a.k.a. \u003c/span>\u003ca href=\"https://www.instagram.com/chefsmelly/\">\u003cspan style=\"font-weight: 400\">Chef Smelly\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, says he met Anabo about six years ago. After seeing each other on Instagram for years, as part of the broader Oakland food community, Wooley finally stopped by Lucky Three Seven to introduce himself. “They accepted me as a brother,” Wooley says of Anabo and his crew. Every time he came by to pick up food, Anabo and Legaspi would sit him down inside the restaurant’s cramped interior and offer him a shot of Hennessy. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It would have been the same for me, if I’d ever had the chance to introduce myself to Anabo properly, Wooley tells me. He would have treated me like family too: “He’d say, ‘Come on in! Come have a shot! Do you want to smoke a blunt?’” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was just a nice, genuine dude,” Wooley says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anabo and Legaspi were also pioneers in the \u003c/span>\u003ca href=\"https://www.sfchronicle.com/food/restaurants/article/filipino-food-restaurants-hayward-union-city-16969628.php\">\u003cspan style=\"font-weight: 400\">East Bay’s now-thriving Filipino food scene\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. The restaurant predated the current wave of trendy Filipino restaurants that have crossed over into mainstream popularity, bringing old-school “turo-turo” (or “point-point”) style steam table fare to a new audience. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Lucky Three Seven became an introduction for Oakland to real Filipino food,” says Filipino American rapper \u003ca href=\"https://eastbayexpress.com/its-easy-filipino-rapper-nump-enters-cannabis-delivery-service/\" target=\"_blank\" rel=\"noopener noreferrer\">Dustin “Nump” Perfetto\u003c/a>, a close friend of Anabo’s. “It’s a big staple in The Town, and it really helped other Filipino brands get exposure.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To this day, the restaurant is a place where purists can find a homey, genuinely pungent version of oxtail kare-kare, but it’s also where newcomers to the cuisine can enjoy crowd pleasers like the spicy G-Fire wings or the jumbo-size lumpia. It has always been a true neighborhood joint, beloved by folks of all different cultural backgrounds. (“I think Black people went there the most,” Wooley says.)\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913850\" class=\"wp-caption aligncenter\" style=\"max-width: 621px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913850\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/jun_son2.jpg\" alt=\"A boy holds a wad of cash underneath his chin while his father looks on to the side.\" width=\"621\" height=\"771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/jun_son2.jpg 621w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/jun_son2-160x199.jpg 160w\" sizes=\"(max-width: 621px) 100vw, 621px\">\u003cfigcaption class=\"wp-caption-text\">Anabo and his son Kiah were like best friends. \u003ccite>(Photo courtesy of Mark Legaspi and family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Much of the reason why the restaurant has been embraced by so many different communities had to do with Anabo—gregarious, charismatic, a man of the people.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was my ‘pare,’ my partner, a day-one supporter of anything I did,” says Perfetto, using the Tagalog term for a close male friend. “His love was so big; this boy had the biggest heart. I’ve never seen him not help another person.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s why Anabo came up with the idea of having an entire day every year, right before Christmas, when Lucky Three Seven would give away free food to the community. It’s why the restaurant routinely collected donations of school supplies to give away to Oakland youth. And, Perfetto says, it’s also why Anabo would talk all the time about how much he wanted Filipinos and Filipino Americans to come together—“uniting so the culture could blow the fuck up.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“He was for the hood, for the homies,” Perfetto says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“’What does this business do for the people?’” says Evan Kidera, co-owner of the Filipino American fusion burrito spot \u003c/span>\u003ca href=\"https://www.senorsisig.com/\">\u003cspan style=\"font-weight: 400\">Señor Sisig\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who was close with both Anabo and Legaspi. “That’s how he lived his life.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“[Jun’s] love was so big … I’ve never seen him not help another person.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Co Pollard, who runs a barbecue and \u003c/span>\u003ca href=\"https://eastbayexpress.com/east-oaklands-grilled-links-kings-1/\">\u003cspan style=\"font-weight: 400\">grilled links business\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> called \u003c/span>\u003ca href=\"https://www.instagram.com/hotdogco/\">\u003cspan style=\"font-weight: 400\">Hotdogco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, first met Anabo as a Lucky Three Seven customer. Soon, the two began meeting up at the local Restaurant Depot to do their shopping, talk about how business was going and “swap education,” Pollard says. As it turns out, his son and Anabo’s son Kiah are good friends who have been in the same class since kindergarten—the running joke among the teachers was that if you had Lucky Three Seven and Hotdogco in the same class, you could expect to get the hook-up with delicious food every day.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For Pollard, that’s the deepest tragedy of Anabo’s death. “I’m just torn up for his son,” Pollard says. “The bond they had, everybody could see it. He was his best friend.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Everyone who knew Anabo talked about how great of a dad he was, and how close the father and son were. “His son was with him, always. You knew his son was his world,” Señor Sisig’s Kidera says. “That’s the next level of heartbreak.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Anabo’s family has set up a \u003c/span>\u003ca href=\"https://www.gofundme.com/f/my-brothers-wish-for-kiah?utm_campaign=p_cp+share-sheet&utm_medium=copy_link_all&utm_source=customer\">\u003cspan style=\"font-weight: 400\">GoFundMe fundraiser\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> to provide for Kiah’s future, setting a target goal of $20,000. As of this posting, it has received more than $95,000 in donations.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For now, Lucky Three Seven has closed its doors as Anabo’s family members recover from the shock of his death. “We have entered a time of uncertainty,” the restaurant wrote in an \u003c/span>\u003ca href=\"https://www.instagram.com/p/Cdu4mo2urNE/\">\u003cspan style=\"font-weight: 400\">Instagram post\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. “And although Jun would want us to keep it moving and keep it pushing … we find ourselves lost without him.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant remained closed over the weekend, with a small memorial for Anabo covered with flowers and candles set up in front. Meanwhile, the investigation into Anabo’s shooting is ongoing, and the Oakland Police Department has yet to make any arrests.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Legaspi, for his part, vows to honor his cousin’s memory by making Lucky Three Seven even bigger and better. “I’m going to make [Jun] proud,” Legaspi says. “I’m going to keep these doors open. And everything I make, it’s going to be with me and his son. So his son’s going to be taken care of.”\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">Alan Chazaro contributed reporting for this story.\u003c/span>\u003c/i>\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>\u003cem>\u003ca href=\"https://www.instagram.com/luckythreeseven/\">Lucky Three Seven\u003c/a> is located at 2868 Fruitvale Ave. in Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ wellbeing. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In 2017, Alora Lemalu and two friends packed their clothes in a car and left their hometown in Missouri for the Bay Area.\u003c/p>\n\u003cp>Back home, Lemalu and her friends felt alone, without any spaces where they could safely connect with other queer people of color. “The decision to come out here was because of the lack of community that any of us had in Missouri,” says the 27-year-old Oakland resident.\u003c/p>\n\u003cp>Tumblr and other social media platforms gave Lemalu a window into what queer spaces were like in the rest of the country. By watching \u003ca href=\"https://www.youtube.com/watch?v=9SqvD1-0odY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paris is Burning\u003c/em>\u003c/a> and competitions on YouTube as a teen, she learned more about voguing and ballroom scenes in places like New York and the Bay Area.\u003c/p>\n\u003cp>“Seeing these women, specifically Black trans women, perform was amazing,” she says. “It was so graceful and so beautiful. But it was also so empowering. In vogue and ballroom you have to have nerve and a certain amount of self-belief and attitude that carries you.”\u003c/p>\n\u003cp>She also learned that vogue was a lot more than just a dance style. Voguing is deeply rooted in the Black ballroom scene of 1970s and 1980s New York City, where queer and trans people of color formed houses—chosen families that provide their members with protection, offer emotional and material support and celebrate each other’s growth as dancers, musicians and artists.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Alora Lemalu\"]‘In vogue and ballroom you have to have nerve and a certain amount of self-belief and attitude that carries you.’[/pullquote]Houses face off in ballroom competitions that include multiple categories and cash prizes. Categories can change from ball to ball, but typical ones include runway, where contestants pull up with ornate outfits they create themselves; selling face, where the emphasis is on the make-up and attitude; and of course, vogue performance.\u003c/p>\n\u003cp>Vogue performance is the opportunity for dancers to come in and give it their all, each with their own style, using their own original techniques and those crafted and refined by previous generations. Hand performances come together with spins, duck walks and drops as the commentator injects energy into the crowd and hypes up each performer.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fw5jn1xrfnY\u003c/p>\n\u003cp>The \u003ca href=\"https://www.sfweekly.com/music/gay-and-transgender-divas-battle-for-stardom-in-bay-areas-ballroom-scene/\">ballroom scene grew across the West Coast in the ’90s\u003c/a>, and that legacy lured Lemalu to the Bay—along with the promise of being able to live safely as a queer person of color. Once she and her friends made it to California in 2017, they began taking classes and going to functions. Eventually, Lemalu was adopted into a house and expanded her chosen family.\u003c/p>\n\u003cp>It was through attending small events that she met Ashlee Banks, Shireen Rahimi and Guerrilla Davis. The three artists are close friends who’ve been part of the scene for years. Banks, a.k.a. Ashlee Basquiat, is a dancer and currently the lead youth wellness coordinator at the \u003ca href=\"https://www.oaklandlgbtqcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland LGBTQ Community Center\u003c/a>; Rahimi, a.k.a. Hype Kitty, is a choreographer, dancer and event producer; and Davis, a.k.a. Guerrilla Pump, is a photographer, DJ and organizer with \u003ca href=\"https://www.instagram.com/wearetheoneswevebeenwaitingfor/\" target=\"_blank\" rel=\"noopener noreferrer\">We Are the Ones We’ve Been Waiting For\u003c/a>, a mutual aid collective that provides \u003ca href=\"https://www.mic.com/life/arm-the-girls-is-empowering-bipoc-queer-trans-femmes-to-fight-back-81225542\" target=\"_blank\" rel=\"noopener noreferrer\">self-defense gear\u003c/a> and other forms of assistance to trans femmes.\u003c/p>\n\u003cfigure id=\"attachment_13913695\" class=\"wp-caption aligncenter\" style=\"max-width: 1360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/OTA_Lake_Merritt_1.png\" alt=\"Three people stand in front of Lake Merritt in Oakland and pose while looking at the camera.\" width=\"1360\" height=\"898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1.png 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-768x507.png 768w\" sizes=\"(max-width: 1360px) 100vw, 1360px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shireen Rahimi Ashlee Banks and Guerrilla Davis. The three have become close friends after meeting through the Bay Area ballroom scene. They now work together to create balls that tackle issues that are disproportionately affecting Black and brown queer people. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 2020, the three have worked to transform the voguing scene in the Bay Area—organizing balls, renegade parties and teaching dance sessions promoted by Oakland to All, a platform the group created back in 2017. Each of these events is produced with intention, centering issues like mental health, substance abuse and efforts to resist police brutality. By doing so, Oakland to All is building on the legacy of balls from the 1980s and 1990s that connected voguers to HIV/AIDS testing and treatment at a time when queer Black and Latinx communities had limited access to these resources.\u003c/p>\n\u003cp>“Our prerogative has always been to provide a safe space for people to just exist,” says Davis. “For trans femme people who exist in the world and get stares and catcalled, balls are one of the few spaces that you can exist without all the bullshit.”\u003c/p>\n\u003cfigure id=\"attachment_13902890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4052.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set it off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Bringing Together a New Generation\u003c/strong>\u003c/h2>\n\u003cp>Over the years, Banks, Rahimi and Davis have supported Lemalu and other young members of the scene by organizing mutual aid funds for emergencies, helping to find housing and connecting them to mental health resources. 2020 was an especially rough year as pandemic health restrictions severely limited balls and other in-person events at a time when Lemalu and her friends felt the world was falling apart.\u003c/p>\n\u003cp>Lemalu wasn’t the only one feeling this way. Banks, Rahimi and Davis heard from young people all over the Bay Area who said they needed some sort of space to come together, see each other, dance and hype each other up. “The kids were asking for balls. The kids are asking for sessions,” Banks says. “We wanted to give them that, but we also wanted to make sure everyone was safe.”\u003c/p>\n\u003cp>The trio had to make sure any event they organized was outdoors to protect against COVID-19. Securing an all-ages space was crucial because ballroom is an important outlet for many queer and trans young people under the age of 21.\u003c/p>\n\u003cp>[pullquote align=\"right\" size=\"medium\" citation=\"Guerrilla Davis, co-founder of Oakland to All\"]‘For trans femme people who exist in the world and get stares and catcalled, balls are one of the few spaces that you can exist without all the bullshit.’[/pullquote]On Aug. 30, 2020, the trio, along with other community groups, threw the \u003ca href=\"https://www.facebook.com/events/lake-merritt-amphitheater/amerikkka-is-burning-ball-830-oaklandca/981801608930387/\" target=\"_blank\" rel=\"noopener noreferrer\">Amerikkka is Burning Ball\u003c/a> at the Lake Merritt Amphitheater. The categories were designed to address the racial reckoning following the murder of George Floyd by a Minneapolis police officer. One category asked voguers to honor victims of police brutality such as Breonna Taylor and Eric Garner, as well as slain trans women such as \u003ca href=\"https://www.advocate.com/crime/2020/3/24/trans-businesswoman-shot-death-while-being-treated-ambulance\" target=\"_blank\" rel=\"noopener noreferrer\">Monika Diamond\u003c/a>. Another \u003ca href=\"https://www.facebook.com/events/lake-merritt-amphitheater/amerikkka-is-burning-ball-830-oaklandca/981801608930387/\">asked participants to create a bizarre look\u003c/a> that showed their “resourcefulness, ingenuity, and creativity focused on protection and survival from the rona or police brutality.”\u003c/p>\n\u003cp>The turnout and energy that pulled through exceeded what any of the organizers ever expected. Although there were plenty of balls in the Bay Area before Amerikkka is Burning, few had sought to engage the younger generations that came of age during the pandemic and weren’t around to experience what the scene was like in the ’90s and early 2000s.\u003c/p>\n\u003cp>Rahimi remembers meeting young people from all over the region, from places like San Jose, Antioch and Palo Alto—something she had rarely seen before. “2020, we connected and changed the motherfucking game, for lack of a better word,” Rahimi says. “That’s when a whole new generation birthed.”\u003c/p>\n\u003cfigure id=\"attachment_13902900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4265.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Wilder competes in the “Set it off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Community Care Through Mutual Aid\u003c/strong>\u003c/h2>\n\u003cp>After Amerikkka is Burning and other events at Lake Merritt, Oakland to All was getting requests for more balls. The community support was there, but now the question was where to throw the events, Davis says. While Lake Merritt provided an option that was both outdoors and open to all ages, the group was concerned about safety around the lake following a series of shootings in the area in 2021.\u003c/p>\n\u003cp>[aside postID=\"arts_13913116\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/continental-club-2-1020x574.jpg\"]Last April, the group threw a \u003ca href=\"https://www.instagram.com/p/Cbf9XodvELr/\">Battle of the Bay Ball\u003c/a> at the Continental Club, a historic venue in West Oakland that hosted many notable Black blues and R&B artists for decades and reopened at the start of 2022. Plans to have a second ball at the Continental in May were scrapped after the nonprofit Hip-Hop for Change and other event organizers in Oakland \u003ca href=\"https://www.kqed.org/arts/13913116/hip-hop-for-change-boycotts-continental-club-over-alleged-discrimination\">accused the club’s new owner of racism, homophobia and sexism\u003c/a>.\u003c/p>\n\u003cp>The next Oakland to All ball—The Kunty Mental Ball—will take place on Thursday, May 26, at \u003ca href=\"https://omnicommons.org/\">Omni Commons\u003c/a>, a community center in Oakland’s Temescal neighborhood and a hub for mutual aid collectives like \u003ca href=\"https://www.instagram.com/northoakland_mutualaid/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">North Oakland Mutual Aid\u003c/a> and \u003ca href=\"https://eastbayfoodnotbombs.org/\">Food Not Bombs\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/Cdow0IwJ3Wo/\u003c/p>\n\u003cp>Each ball is made possible thanks to a support network that Banks, Rahimi and Davis have built across the Bay Area since before COVID-19. Friends volunteer to run the sound system and bring chairs; audience members’ donations go to the cash prizes for performers.\u003c/p>\n\u003cp>“The idea of mutual aid is more than just raising money,” adds Davis. “It means what resources do we have and how can we share [them] together so that we are all empowered together so we can all survive.”\u003c/p>\n\u003cp>Oakland to All has also partnered up with public health nonprofits, such as \u003ca href=\"https://www.calpep.org/\">CAL-PEP\u003c/a>, which offers health services for sex workers. Agencies like \u003ca href=\"https://www.acbhcs.org/\">Alameda County Behavioral Health Care Services \u003c/a>connect ball-goers with HIV/AIDS testing, mental health services and substance abuse treatment during the event. These organizations are invited to table at the balls so they can answer questions and educate attendees about resources like the HIV-prevention drugs \u003ca href=\"https://www.cdc.gov/hiv/clinicians/prevention/prep-and-pep.html\" target=\"_blank\" rel=\"noopener noreferrer\">PrEP and PEP\u003c/a>.\u003c/p>\n\u003cp>[aside postID=\"arts_13905452\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/aliceLaureldancing.jpg\"]“Vogue is not a dance class. It’s not just here for entertainment,” says Rahimi, adding that vogue and ballroom culture has been highly commercialized in the past few years by those not from the scene. Vogue at its core, she explains, has always been a radical space for queer people of color to protect, celebrate and care for one another.\u003c/p>\n\u003cp>When Oakland to All links their community with health resources, that’s part of a greater history of the ballroom scene. Balls across the country have prioritized HIV/AIDS education and healthcare access since the 1980s.\u003c/p>\n\u003cp>“HIV/AIDS has affected this community the most,” Rahimi says. “Coming into the conversation is mental health.” A 2022 survey from The Trevor Project, a nationwide group that focuses on suicide prevention for LGBTQ+ youth, \u003ca href=\"https://www.pbs.org/newshour/show/political-targeting-the-pandemic-exacerbate-mental-health-struggles-of-lgbtq-youth\">found the pandemic has exacerbated mental health issues for queer and trans people of color\u003c/a>. Greater isolation played a part, and so did homophobic and transphobic attacks and a rise in \u003ca href=\"https://www.aclu.org/legislation-affecting-lgbtq-rights-across-country\" target=\"_blank\" rel=\"noopener noreferrer\">anti-LGBTQ+ legislation\u003c/a>.\u003c/p>\n\u003cp>From their daily conversations with young people in the scene, Banks, Rahimi and Davis have noticed a similar pattern locally during the past two years. They’ve also noticed more folks dealing with substance abuse. They say the stigma and lack of information about available resources have made it difficult for people to get help.\u003c/p>\n\u003cp>[aside postID=\"news_11908813\" hero=\"https://ww2.kqed.org/app/uploads/sites/10/2022/03/022222-COVID-Kids-Mental-Health-AJ-CM-12-1020x680.jpg\"]“Substance abuse and mental health go hand in hand,” Rahimi says. Crystal meth has really taken a toll on the scene, she adds. “We’ve lost people that are legends and icons, and those that are up-and-coming.”\u003c/p>\n\u003cp>That’s why the group is putting mental health front and center in the Kunty Mental Ball. The name itself is a reminder that caring for one’s mental health is an indispensable part of self-empowerment. All the categories will be related one way or another to mental health. Several are asking participants to involve green (representing the green ribbon, symbol of mental health awareness).\u003c/p>\n\u003cp>For the face category, voguers will have to “meet [their] reflection in the mirror and send [themselves] loving and self-affirming affirmations.” The tag team performance category invites dancers to show how they are physically, mentally and emotionally present for a loved one.\u003c/p>\n\u003cp>The group hopes that what happens on the runway will impact life outside of it. “We can still have fun and teach other. Care for each other,” Banks says. “You’re around people that are telling you it’s OK. That are telling you, ‘I’ll go with you. If you need me to hold your hand, I’ll hold your hand.’”\u003c/p>\n\u003cfigure id=\"attachment_13913693\" class=\"wp-caption aligncenter\" style=\"max-width: 1364px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/OTA_Lake_Merritt_3.png\" alt=\"Three people stand in front of Lake Merritt in Oakland and pose while looking away from the camera, to their right.\" width=\"1364\" height=\"902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3.png 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-768x508.png 768w\" sizes=\"(max-width: 1364px) 100vw, 1364px\">\u003cfigcaption class=\"wp-caption-text\">Rahimi, Banks and Davis all found their chosen family through the ballroom scene and it was this network of support and care that got them through some of their toughest moments. Their hope is that Oakland to All help younger generations of queer people of color find the resources they need to care for each other. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alora, who came to California to seek refuge in the Bay Area’s ballroom scene, has now found an additional layer of comfort in the balls organized by Oakland to All. She doesn’t just talk to Banks, Rahimi and Davis, she also receives their care and love—and the love of so many others. Both her talent and mental health are valued and looked after.\u003c/p>\n\u003cp>“I’m in a place where life is kind of overwhelming, but I’m finding so much groundedness in ballroom,” she says. “There’s just so much collective trauma both in this country and in the air. All of us are going through it. But the one thing that literally keeps us going is meeting every week and just voguing down.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\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>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ wellbeing. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In 2017, Alora Lemalu and two friends packed their clothes in a car and left their hometown in Missouri for the Bay Area.\u003c/p>\n\u003cp>Back home, Lemalu and her friends felt alone, without any spaces where they could safely connect with other queer people of color. “The decision to come out here was because of the lack of community that any of us had in Missouri,” says the 27-year-old Oakland resident.\u003c/p>\n\u003cp>Tumblr and other social media platforms gave Lemalu a window into what queer spaces were like in the rest of the country. By watching \u003ca href=\"https://www.youtube.com/watch?v=9SqvD1-0odY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Paris is Burning\u003c/em>\u003c/a> and competitions on YouTube as a teen, she learned more about voguing and ballroom scenes in places like New York and the Bay Area.\u003c/p>\n\u003cp>“Seeing these women, specifically Black trans women, perform was amazing,” she says. “It was so graceful and so beautiful. But it was also so empowering. In vogue and ballroom you have to have nerve and a certain amount of self-belief and attitude that carries you.”\u003c/p>\n\u003cp>She also learned that vogue was a lot more than just a dance style. Voguing is deeply rooted in the Black ballroom scene of 1970s and 1980s New York City, where queer and trans people of color formed houses—chosen families that provide their members with protection, offer emotional and material support and celebrate each other’s growth as dancers, musicians and artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "‘In vogue and ballroom you have to have nerve and a certain amount of self-belief and attitude that carries you.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Houses face off in ballroom competitions that include multiple categories and cash prizes. Categories can change from ball to ball, but typical ones include runway, where contestants pull up with ornate outfits they create themselves; selling face, where the emphasis is on the make-up and attitude; and of course, vogue performance.\u003c/p>\n\u003cp>Vogue performance is the opportunity for dancers to come in and give it their all, each with their own style, using their own original techniques and those crafted and refined by previous generations. Hand performances come together with spins, duck walks and drops as the commentator injects energy into the crowd and hypes up each performer.\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/Fw5jn1xrfnY'\n title='//www.youtube.com/embed/Fw5jn1xrfnY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \u003ca href=\"https://www.sfweekly.com/music/gay-and-transgender-divas-battle-for-stardom-in-bay-areas-ballroom-scene/\">ballroom scene grew across the West Coast in the ’90s\u003c/a>, and that legacy lured Lemalu to the Bay—along with the promise of being able to live safely as a queer person of color. Once she and her friends made it to California in 2017, they began taking classes and going to functions. Eventually, Lemalu was adopted into a house and expanded her chosen family.\u003c/p>\n\u003cp>It was through attending small events that she met Ashlee Banks, Shireen Rahimi and Guerrilla Davis. The three artists are close friends who’ve been part of the scene for years. Banks, a.k.a. Ashlee Basquiat, is a dancer and currently the lead youth wellness coordinator at the \u003ca href=\"https://www.oaklandlgbtqcenter.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Oakland LGBTQ Community Center\u003c/a>; Rahimi, a.k.a. Hype Kitty, is a choreographer, dancer and event producer; and Davis, a.k.a. Guerrilla Pump, is a photographer, DJ and organizer with \u003ca href=\"https://www.instagram.com/wearetheoneswevebeenwaitingfor/\" target=\"_blank\" rel=\"noopener noreferrer\">We Are the Ones We’ve Been Waiting For\u003c/a>, a mutual aid collective that provides \u003ca href=\"https://www.mic.com/life/arm-the-girls-is-empowering-bipoc-queer-trans-femmes-to-fight-back-81225542\" target=\"_blank\" rel=\"noopener noreferrer\">self-defense gear\u003c/a> and other forms of assistance to trans femmes.\u003c/p>\n\u003cfigure id=\"attachment_13913695\" class=\"wp-caption aligncenter\" style=\"max-width: 1360px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913695\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/OTA_Lake_Merritt_1.png\" alt=\"Three people stand in front of Lake Merritt in Oakland and pose while looking at the camera.\" width=\"1360\" height=\"898\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1.png 1360w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-800x528.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-1020x674.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_1-768x507.png 768w\" sizes=\"(max-width: 1360px) 100vw, 1360px\">\u003cfigcaption class=\"wp-caption-text\">From left to right: Shireen Rahimi Ashlee Banks and Guerrilla Davis. The three have become close friends after meeting through the Bay Area ballroom scene. They now work together to create balls that tackle issues that are disproportionately affecting Black and brown queer people. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Since 2020, the three have worked to transform the voguing scene in the Bay Area—organizing balls, renegade parties and teaching dance sessions promoted by Oakland to All, a platform the group created back in 2017. Each of these events is produced with intention, centering issues like mental health, substance abuse and efforts to resist police brutality. By doing so, Oakland to All is building on the legacy of balls from the 1980s and 1990s that connected voguers to HIV/AIDS testing and treatment at a time when queer Black and Latinx communities had limited access to these resources.\u003c/p>\n\u003cp>“Our prerogative has always been to provide a safe space for people to just exist,” says Davis. “For trans femme people who exist in the world and get stares and catcalled, balls are one of the few spaces that you can exist without all the bullshit.”\u003c/p>\n\u003cfigure id=\"attachment_13902890\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902890\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4052.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Set it off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Bringing Together a New Generation\u003c/strong>\u003c/h2>\n\u003cp>Over the years, Banks, Rahimi and Davis have supported Lemalu and other young members of the scene by organizing mutual aid funds for emergencies, helping to find housing and connecting them to mental health resources. 2020 was an especially rough year as pandemic health restrictions severely limited balls and other in-person events at a time when Lemalu and her friends felt the world was falling apart.\u003c/p>\n\u003cp>Lemalu wasn’t the only one feeling this way. Banks, Rahimi and Davis heard from young people all over the Bay Area who said they needed some sort of space to come together, see each other, dance and hype each other up. “The kids were asking for balls. The kids are asking for sessions,” Banks says. “We wanted to give them that, but we also wanted to make sure everyone was safe.”\u003c/p>\n\u003cp>The trio had to make sure any event they organized was outdoors to protect against COVID-19. Securing an all-ages space was crucial because ballroom is an important outlet for many queer and trans young people under the age of 21.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On Aug. 30, 2020, the trio, along with other community groups, threw the \u003ca href=\"https://www.facebook.com/events/lake-merritt-amphitheater/amerikkka-is-burning-ball-830-oaklandca/981801608930387/\" target=\"_blank\" rel=\"noopener noreferrer\">Amerikkka is Burning Ball\u003c/a> at the Lake Merritt Amphitheater. The categories were designed to address the racial reckoning following the murder of George Floyd by a Minneapolis police officer. One category asked voguers to honor victims of police brutality such as Breonna Taylor and Eric Garner, as well as slain trans women such as \u003ca href=\"https://www.advocate.com/crime/2020/3/24/trans-businesswoman-shot-death-while-being-treated-ambulance\" target=\"_blank\" rel=\"noopener noreferrer\">Monika Diamond\u003c/a>. Another \u003ca href=\"https://www.facebook.com/events/lake-merritt-amphitheater/amerikkka-is-burning-ball-830-oaklandca/981801608930387/\">asked participants to create a bizarre look\u003c/a> that showed their “resourcefulness, ingenuity, and creativity focused on protection and survival from the rona or police brutality.”\u003c/p>\n\u003cp>The turnout and energy that pulled through exceeded what any of the organizers ever expected. Although there were plenty of balls in the Bay Area before Amerikkka is Burning, few had sought to engage the younger generations that came of age during the pandemic and weren’t around to experience what the scene was like in the ’90s and early 2000s.\u003c/p>\n\u003cp>Rahimi remembers meeting young people from all over the region, from places like San Jose, Antioch and Palo Alto—something she had rarely seen before. “2020, we connected and changed the motherfucking game, for lack of a better word,” Rahimi says. “That’s when a whole new generation birthed.”\u003c/p>\n\u003cfigure id=\"attachment_13902900\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902900\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A4265.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A4265-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Isaiah Wilder competes in the “Set it off” OTA Performance contest at Back with a Vengeance Ball at Lake Merritt Amphitheater on Saturday, Sept. 11, 2021. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cstrong>Community Care Through Mutual Aid\u003c/strong>\u003c/h2>\n\u003cp>After Amerikkka is Burning and other events at Lake Merritt, Oakland to All was getting requests for more balls. The community support was there, but now the question was where to throw the events, Davis says. While Lake Merritt provided an option that was both outdoors and open to all ages, the group was concerned about safety around the lake following a series of shootings in the area in 2021.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last April, the group threw a \u003ca href=\"https://www.instagram.com/p/Cbf9XodvELr/\">Battle of the Bay Ball\u003c/a> at the Continental Club, a historic venue in West Oakland that hosted many notable Black blues and R&B artists for decades and reopened at the start of 2022. Plans to have a second ball at the Continental in May were scrapped after the nonprofit Hip-Hop for Change and other event organizers in Oakland \u003ca href=\"https://www.kqed.org/arts/13913116/hip-hop-for-change-boycotts-continental-club-over-alleged-discrimination\">accused the club’s new owner of racism, homophobia and sexism\u003c/a>.\u003c/p>\n\u003cp>The next Oakland to All ball—The Kunty Mental Ball—will take place on Thursday, May 26, at \u003ca href=\"https://omnicommons.org/\">Omni Commons\u003c/a>, a community center in Oakland’s Temescal neighborhood and a hub for mutual aid collectives like \u003ca href=\"https://www.instagram.com/northoakland_mutualaid/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">North Oakland Mutual Aid\u003c/a> and \u003ca href=\"https://eastbayfoodnotbombs.org/\">Food Not Bombs\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Each ball is made possible thanks to a support network that Banks, Rahimi and Davis have built across the Bay Area since before COVID-19. Friends volunteer to run the sound system and bring chairs; audience members’ donations go to the cash prizes for performers.\u003c/p>\n\u003cp>“The idea of mutual aid is more than just raising money,” adds Davis. “It means what resources do we have and how can we share [them] together so that we are all empowered together so we can all survive.”\u003c/p>\n\u003cp>Oakland to All has also partnered up with public health nonprofits, such as \u003ca href=\"https://www.calpep.org/\">CAL-PEP\u003c/a>, which offers health services for sex workers. Agencies like \u003ca href=\"https://www.acbhcs.org/\">Alameda County Behavioral Health Care Services \u003c/a>connect ball-goers with HIV/AIDS testing, mental health services and substance abuse treatment during the event. These organizations are invited to table at the balls so they can answer questions and educate attendees about resources like the HIV-prevention drugs \u003ca href=\"https://www.cdc.gov/hiv/clinicians/prevention/prep-and-pep.html\" target=\"_blank\" rel=\"noopener noreferrer\">PrEP and PEP\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Vogue is not a dance class. It’s not just here for entertainment,” says Rahimi, adding that vogue and ballroom culture has been highly commercialized in the past few years by those not from the scene. Vogue at its core, she explains, has always been a radical space for queer people of color to protect, celebrate and care for one another.\u003c/p>\n\u003cp>When Oakland to All links their community with health resources, that’s part of a greater history of the ballroom scene. Balls across the country have prioritized HIV/AIDS education and healthcare access since the 1980s.\u003c/p>\n\u003cp>“HIV/AIDS has affected this community the most,” Rahimi says. “Coming into the conversation is mental health.” A 2022 survey from The Trevor Project, a nationwide group that focuses on suicide prevention for LGBTQ+ youth, \u003ca href=\"https://www.pbs.org/newshour/show/political-targeting-the-pandemic-exacerbate-mental-health-struggles-of-lgbtq-youth\">found the pandemic has exacerbated mental health issues for queer and trans people of color\u003c/a>. Greater isolation played a part, and so did homophobic and transphobic attacks and a rise in \u003ca href=\"https://www.aclu.org/legislation-affecting-lgbtq-rights-across-country\" target=\"_blank\" rel=\"noopener noreferrer\">anti-LGBTQ+ legislation\u003c/a>.\u003c/p>\n\u003cp>From their daily conversations with young people in the scene, Banks, Rahimi and Davis have noticed a similar pattern locally during the past two years. They’ve also noticed more folks dealing with substance abuse. They say the stigma and lack of information about available resources have made it difficult for people to get help.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Substance abuse and mental health go hand in hand,” Rahimi says. Crystal meth has really taken a toll on the scene, she adds. “We’ve lost people that are legends and icons, and those that are up-and-coming.”\u003c/p>\n\u003cp>That’s why the group is putting mental health front and center in the Kunty Mental Ball. The name itself is a reminder that caring for one’s mental health is an indispensable part of self-empowerment. All the categories will be related one way or another to mental health. Several are asking participants to involve green (representing the green ribbon, symbol of mental health awareness).\u003c/p>\n\u003cp>For the face category, voguers will have to “meet [their] reflection in the mirror and send [themselves] loving and self-affirming affirmations.” The tag team performance category invites dancers to show how they are physically, mentally and emotionally present for a loved one.\u003c/p>\n\u003cp>The group hopes that what happens on the runway will impact life outside of it. “We can still have fun and teach other. Care for each other,” Banks says. “You’re around people that are telling you it’s OK. That are telling you, ‘I’ll go with you. If you need me to hold your hand, I’ll hold your hand.’”\u003c/p>\n\u003cfigure id=\"attachment_13913693\" class=\"wp-caption aligncenter\" style=\"max-width: 1364px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13913693\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/OTA_Lake_Merritt_3.png\" alt=\"Three people stand in front of Lake Merritt in Oakland and pose while looking away from the camera, to their right.\" width=\"1364\" height=\"902\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3.png 1364w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/OTA_Lake_Merritt_3-768x508.png 768w\" sizes=\"(max-width: 1364px) 100vw, 1364px\">\u003cfigcaption class=\"wp-caption-text\">Rahimi, Banks and Davis all found their chosen family through the ballroom scene and it was this network of support and care that got them through some of their toughest moments. Their hope is that Oakland to All help younger generations of queer people of color find the resources they need to care for each other. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Alora, who came to California to seek refuge in the Bay Area’s ballroom scene, has now found an additional layer of comfort in the balls organized by Oakland to All. She doesn’t just talk to Banks, Rahimi and Davis, she also receives their care and love—and the love of so many others. Both her talent and mental health are valued and looked after.\u003c/p>\n\u003cp>“I’m in a place where life is kind of overwhelming, but I’m finding so much groundedness in ballroom,” she says. “There’s just so much collective trauma both in this country and in the air. All of us are going through it. But the one thing that literally keeps us going is meeting every week and just voguing down.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Gumbo Tacos and Oxtail Birria Feed the People at This Word-of-Mouth Pop-Up in Oakland",
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"headTitle": "Gumbo Tacos and Oxtail Birria Feed the People at This Word-of-Mouth Pop-Up in Oakland | KQED",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a weekly conversation with Bay Area foodmakers, exploring the region’s culinary culture through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You won’t find any tasteless gimmicks at YumBobYum’s Taco Tuesday pop-up inside \u003c/span>\u003ca href=\"https://www.smokinwoodsbbq.com/\">\u003cspan style=\"font-weight: 400\">Smokin Woods BBQ\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Telegraph Ave. in Oakland. Instead, you’ll find a neighborhood of folks converging over daps, playful shit talking and life-giving doses of habanero shrimp.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each week, the Black-owned barbecue joint becomes a makeshift taqueria operated by \u003c/span>\u003ca href=\"https://www.instagram.com/yumbobyum/\">\u003cspan style=\"font-weight: 400\">Chef Bob\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (real name Gibran Garcia) and his staff of helpers who feed Oaklanders plates of his Southern Creole, Jamaican and Mexican remixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You’ll feel jubilant while filling up on jerk chicken tacos—made with harmonizing notes of smoked spices, sweet tang and Red Stripe-marinated pollo piled over two chewy tortillas. With a full bar available, you might order a round of dark Mexican lagers and a shot of tequila to go with it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the real showstopper is the gumbo taco, which Garcia prepares using his family’s Creole roux recipe and includes shrimp, crab, chicken, rice and a variety of slow-simmered veggies. It’s the only spot in the Bay where the magic of a gumbo pot gets strained then poured into an edible corn vessel.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s not this chef’s only claim to fame, though. The dude offers an array of other out-the-trunk specials, including his original oxtail birria tacos with consomé (made with whole oxtails that he chops and stews for 5 hours), elote popper fritters and fried cheese quesadillas that come with your choice of protein—I recommend the vegan soyrizo to balance out the carne you’ll be sure to consume your body weight in during your stay. \u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/Cah_RhsPjz2/\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">If you’re unaccustomed to the combination of a grilled flour tortilla with an outer layer of crunchy double-fried cheese, the gooey warmth of additional melted cheeses inside and a dash of red salsa on top, it’s a peak nirvana I’d argue no traditional quesadilla can achieve.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With enough clout to attract regular customers from as far away as Sacramento, this really is that spot—a word-of-mouth function with a lively sports bar atmosphere, where homies gather to hold space and joy despite all of life’s stressors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And Chef Bob is just getting started. Eventually, he plans on selling his own gumbo seasoning, as well as a homestyle carne asada rub and an all-purpose spice. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s what he has to say as an underground king of the Bay Area’s gumbo game.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: How did you become interested in culinary arts?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I started off cooking at home with my mom. Food is big in my family, so my mom taught me her grandmother’s recipes from Louisiana—Creole style cooking. Later, my first actual job was at Cheeseboard Pizza Collective in North Berkeley. I got fired because I was a high school kid who didn’t take it seriously; a few no shows and no calls and they kicked me out. Then, about 8 years ago, I started cooking my family’s gumbo—a two-pot gumbo—during Christmas. That was a big step for me. I was in college studying film at the time, and food was in my life but not really a serious passion yet. I worked at Raleigh’s on Telegraph [for a few years] and learned a lot. Then, I worked at Smokin Woods BBQ. During the pandemic, I wanted to make more money so that’s when I started selling plates from my house and it kicked off. I still work [at Smokin Woods] as a line cook on Wednesdays through Fridays.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913599\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/chefbob_bob-800x1200.jpg\" alt=\"The chef, Gibran Garcia, holds a food tray of freshly made gumbo tacos while standing in the kitchen, with two cooks behind him\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Bob holding his gumbo taco creation, with a side of roux. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Where does your name Bob (or YumBobYum) come from?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s just a nickname I came up with out of nowhere in high school and it stuck. People just know me as that. When I got into cooking more seriously, I added the “chef” part because I felt like I deserved it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What inspired you to combine elements of Southern cuisine and Caribbean flavors with Mexican food here in the Bay?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was born in Berkeley. My dad lived in Oakland. My mom’s side is Black Creole from Louisiana, where I learned how to cook. My dad’s side is Black and Filipino. My dad was actually born in the Philippines and moved here as a young kid. A lot of what I cook is what I like about the Bay’s food scene. It’s a giant melting pot. There are so many different mixtures of people from different backgrounds. You can Yelp any random country’s type of food and cuisine and find a place within a short drive of where you live. I like to do that. I always eat all types of food. Brazilian, Peruvian, Sengalese. That’s the Bay. I grew up going to taco trucks and taquerias. My dad used to live in the 40s in East Oakland, and my friend’s mom used to always make us Mexican food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13913201,arts_13896380']People assume [my food is] just gonna be the same Creole or Cajun twist, but it’s not just that. It’s my personal twist. I just like to make things that I enjoy eating myself. Like the oxtail, that’s Jamaican. I’ve never been to Jamaica, but I just love the food. I make things up. Anytime I debut a new menu item, it’s a great experience for me. I have a new menu item for this week, which is a chicken flauta. I usually get inspiration from elsewhere, but the flauta idea was just like, I haven’t had a flauta in hella long and we just fixed the deep fryer so I wanted to test that out. I had the ingredients and just made one from scratch on the spot. Usually what I end up doing if I have down time on my break is I’ll just make things for my coworkers or bartenders to try. I said fuck it, why not. I’ve never made a flauta.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Where do you go to find good gumbo, oxtail and birria around here?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t really eat gumbo unless it’s made at home with my family. There are so many things that can go wrong, and I’m accustomed to the way we make it. Oxtail in the Bay is one of the hardest things to find, too. It’s just hard to find a place where the consistency is solid. There’s a truck by Lake Merritt that serves oxtails. I forget the name, but it’s the best I’ve had out here over the years. As far as birria, my favorite place started as a pop-up called La Santa Torta in Jack London. It’s one of the few birrias where I don’t need the consomé. I could just straight-up eat the birria by itself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What are the struggles and challenges you’ve experienced in the Bay Area’s food industry as an independent foodmaker?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of places don’t have soul anymore in the Bay. With gentrification, it’s hard to keep authentic places going. Some pop-ups will lose their space because rent went up, or because people in the area didn’t catch on quick enough and their finances didn’t last. We lose out on some good food for that reason. That sucks to see.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CW6kcvqBkWe/\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone 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>\u003ca href=\"https://www.instagram.com/yumbobyum/\">\u003ci>\u003cspan style=\"font-weight: 400\">YumBobYum’s\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> pop-up is every Tuesday, 5 to 10 pm at 4307 Telegraph Ave. in Oakland.\u003c/span>\u003c/i>\u003c/p>\n\n",
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"excerpt": "YumBobYum pops up at Temescal's Smokin Woods BBQ every Tuesday night.",
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"title": "Gumbo Tacos and Oxtail Birria Shine at YumBobYum's Oakland Pop-Up | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a weekly conversation with Bay Area foodmakers, exploring the region’s culinary culture through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You won’t find any tasteless gimmicks at YumBobYum’s Taco Tuesday pop-up inside \u003c/span>\u003ca href=\"https://www.smokinwoodsbbq.com/\">\u003cspan style=\"font-weight: 400\">Smokin Woods BBQ\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> on Telegraph Ave. in Oakland. Instead, you’ll find a neighborhood of folks converging over daps, playful shit talking and life-giving doses of habanero shrimp.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Each week, the Black-owned barbecue joint becomes a makeshift taqueria operated by \u003c/span>\u003ca href=\"https://www.instagram.com/yumbobyum/\">\u003cspan style=\"font-weight: 400\">Chef Bob\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> (real name Gibran Garcia) and his staff of helpers who feed Oaklanders plates of his Southern Creole, Jamaican and Mexican remixes.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">You’ll feel jubilant while filling up on jerk chicken tacos—made with harmonizing notes of smoked spices, sweet tang and Red Stripe-marinated pollo piled over two chewy tortillas. With a full bar available, you might order a round of dark Mexican lagers and a shot of tequila to go with it.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But the real showstopper is the gumbo taco, which Garcia prepares using his family’s Creole roux recipe and includes shrimp, crab, chicken, rice and a variety of slow-simmered veggies. It’s the only spot in the Bay where the magic of a gumbo pot gets strained then poured into an edible corn vessel.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s not this chef’s only claim to fame, though. The dude offers an array of other out-the-trunk specials, including his original oxtail birria tacos with consomé (made with whole oxtails that he chops and stews for 5 hours), elote popper fritters and fried cheese quesadillas that come with your choice of protein—I recommend the vegan soyrizo to balance out the carne you’ll be sure to consume your body weight in during your stay. \u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">If you’re unaccustomed to the combination of a grilled flour tortilla with an outer layer of crunchy double-fried cheese, the gooey warmth of additional melted cheeses inside and a dash of red salsa on top, it’s a peak nirvana I’d argue no traditional quesadilla can achieve.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">With enough clout to attract regular customers from as far away as Sacramento, this really is that spot—a word-of-mouth function with a lively sports bar atmosphere, where homies gather to hold space and joy despite all of life’s stressors.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And Chef Bob is just getting started. Eventually, he plans on selling his own gumbo seasoning, as well as a homestyle carne asada rub and an all-purpose spice. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Here’s what he has to say as an underground king of the Bay Area’s gumbo game.\u003c/span>\u003c/p>\n\u003cp>\u003ci>\u003cspan style=\"font-weight: 400\">This interview has been edited for length and clarity.\u003c/span>\u003c/i>\u003c/p>\n\u003cp style=\"text-align: center\">\u003cspan style=\"font-weight: 400\">********\u003c/span>\u003c/p>\n\u003cp>\u003cb>KQED: How did you become interested in culinary arts?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I started off cooking at home with my mom. Food is big in my family, so my mom taught me her grandmother’s recipes from Louisiana—Creole style cooking. Later, my first actual job was at Cheeseboard Pizza Collective in North Berkeley. I got fired because I was a high school kid who didn’t take it seriously; a few no shows and no calls and they kicked me out. Then, about 8 years ago, I started cooking my family’s gumbo—a two-pot gumbo—during Christmas. That was a big step for me. I was in college studying film at the time, and food was in my life but not really a serious passion yet. I worked at Raleigh’s on Telegraph [for a few years] and learned a lot. Then, I worked at Smokin Woods BBQ. During the pandemic, I wanted to make more money so that’s when I started selling plates from my house and it kicked off. I still work [at Smokin Woods] as a line cook on Wednesdays through Fridays.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913599\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913599\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/chefbob_bob-800x1200.jpg\" alt=\"The chef, Gibran Garcia, holds a food tray of freshly made gumbo tacos while standing in the kitchen, with two cooks behind him\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/chefbob_bob-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Bob holding his gumbo taco creation, with a side of roux. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>Where does your name Bob (or YumBobYum) come from?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">That’s just a nickname I came up with out of nowhere in high school and it stuck. People just know me as that. When I got into cooking more seriously, I added the “chef” part because I felt like I deserved it.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What inspired you to combine elements of Southern cuisine and Caribbean flavors with Mexican food here in the Bay?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I was born in Berkeley. My dad lived in Oakland. My mom’s side is Black Creole from Louisiana, where I learned how to cook. My dad’s side is Black and Filipino. My dad was actually born in the Philippines and moved here as a young kid. A lot of what I cook is what I like about the Bay’s food scene. It’s a giant melting pot. There are so many different mixtures of people from different backgrounds. You can Yelp any random country’s type of food and cuisine and find a place within a short drive of where you live. I like to do that. I always eat all types of food. Brazilian, Peruvian, Sengalese. That’s the Bay. I grew up going to taco trucks and taquerias. My dad used to live in the 40s in East Oakland, and my friend’s mom used to always make us Mexican food. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>People assume [my food is] just gonna be the same Creole or Cajun twist, but it’s not just that. It’s my personal twist. I just like to make things that I enjoy eating myself. Like the oxtail, that’s Jamaican. I’ve never been to Jamaica, but I just love the food. I make things up. Anytime I debut a new menu item, it’s a great experience for me. I have a new menu item for this week, which is a chicken flauta. I usually get inspiration from elsewhere, but the flauta idea was just like, I haven’t had a flauta in hella long and we just fixed the deep fryer so I wanted to test that out. I had the ingredients and just made one from scratch on the spot. Usually what I end up doing if I have down time on my break is I’ll just make things for my coworkers or bartenders to try. I said fuck it, why not. I’ve never made a flauta.\u003c/span>\u003c/p>\n\u003cp>\u003cb>Where do you go to find good gumbo, oxtail and birria around here?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I don’t really eat gumbo unless it’s made at home with my family. There are so many things that can go wrong, and I’m accustomed to the way we make it. Oxtail in the Bay is one of the hardest things to find, too. It’s just hard to find a place where the consistency is solid. There’s a truck by Lake Merritt that serves oxtails. I forget the name, but it’s the best I’ve had out here over the years. As far as birria, my favorite place started as a pop-up called La Santa Torta in Jack London. It’s one of the few birrias where I don’t need the consomé. I could just straight-up eat the birria by itself. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What are the struggles and challenges you’ve experienced in the Bay Area’s food industry as an independent foodmaker?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A lot of places don’t have soul anymore in the Bay. With gentrification, it’s hard to keep authentic places going. Some pop-ups will lose their space because rent went up, or because people in the area didn’t catch on quick enough and their finances didn’t last. We lose out on some good food for that reason. That sucks to see.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.instagram.com/yumbobyum/\">\u003ci>\u003cspan style=\"font-weight: 400\">YumBobYum’s\u003c/span>\u003c/i>\u003c/a>\u003ci>\u003cspan style=\"font-weight: 400\"> pop-up is every Tuesday, 5 to 10 pm at 4307 Telegraph Ave. in Oakland.\u003c/span>\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bay Area High Schoolers Get Their Own Film Fest at the New Parkway",
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"content": "\u003cp>No matter how many Bay Area icons make it to Hollywood, it’s always a thrill to see local landmarks, culture and talent on the silver screen (shout-out to whatever weirdness Boots Riley is cooking up for us with his upcoming Amazon series, \u003ci>\u003ca href=\"https://deadline.com/2020/12/amazon-im-a-virgo-jharrel-jerome-boots-riley-media-res-1234656067/\" rel=\"noopener noreferrer\" target=\"_blank\">I’m a Virgo\u003c/a>\u003c/i>). It’s even more exciting to think about what the next generation of Bay Area filmmakers will come up with as they hone their skills. Helping them on their path is \u003ca href=\"https://www.instagram.com/reeloakland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">REEL Oakland\u003c/a>, an after-school program created by Anthonia Onyejekwe (a former producer for KQED’s \u003ci>\u003ca href=\"https://www.kqed.org/checkplease\" rel=\"noopener noreferrer\" target=\"_blank\">Check Please! Bay Area\u003c/a>\u003c/i>) that guides high school students through the making of short documentary, narrative and animation films.\u003c/p>\n\u003cp>Over the course of a year, the students learn about all facets of filmmaking, from screenwriting to postproduction, working together as a crew and under the mentorship of local professionals. On Saturday, May 28, student films from Oakland Charter High School, Leadership Public Schools in Oakland and Hayward, Skyline High School, Richmond High School and John F. Kennedy High School will be on display at the New Parkway for an afternoon of screenings. A raffle, a Q&A with the student directors and—looking to what comes next—a chance for all attendees to network in the field rounds out the free event.\u003c/p>\n\u003cp>\u003ci>REEL Oakland Film Festival takes place Saturday, May 28, from 4–6pm at the New Parkway Theater. Tickets are free. \u003ca href=\"https://www.eventbrite.com/e/reel-oakland-screening-tickets-321112023707\" rel=\"noopener noreferrer\" target=\"_blank\">Register here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Glimpse the future of homegrown filmmaking at the REEL Oakland Film Festival on May 28.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No matter how many Bay Area icons make it to Hollywood, it’s always a thrill to see local landmarks, culture and talent on the silver screen (shout-out to whatever weirdness Boots Riley is cooking up for us with his upcoming Amazon series, \u003ci>\u003ca href=\"https://deadline.com/2020/12/amazon-im-a-virgo-jharrel-jerome-boots-riley-media-res-1234656067/\" rel=\"noopener noreferrer\" target=\"_blank\">I’m a Virgo\u003c/a>\u003c/i>). It’s even more exciting to think about what the next generation of Bay Area filmmakers will come up with as they hone their skills. Helping them on their path is \u003ca href=\"https://www.instagram.com/reeloakland/?hl=en\" rel=\"noopener noreferrer\" target=\"_blank\">REEL Oakland\u003c/a>, an after-school program created by Anthonia Onyejekwe (a former producer for KQED’s \u003ci>\u003ca href=\"https://www.kqed.org/checkplease\" rel=\"noopener noreferrer\" target=\"_blank\">Check Please! Bay Area\u003c/a>\u003c/i>) that guides high school students through the making of short documentary, narrative and animation films.\u003c/p>\n\u003cp>Over the course of a year, the students learn about all facets of filmmaking, from screenwriting to postproduction, working together as a crew and under the mentorship of local professionals. On Saturday, May 28, student films from Oakland Charter High School, Leadership Public Schools in Oakland and Hayward, Skyline High School, Richmond High School and John F. Kennedy High School will be on display at the New Parkway for an afternoon of screenings. A raffle, a Q&A with the student directors and—looking to what comes next—a chance for all attendees to network in the field rounds out the free event.\u003c/p>\n\u003cp>\u003ci>REEL Oakland Film Festival takes place Saturday, May 28, from 4–6pm at the New Parkway Theater. Tickets are free. \u003ca href=\"https://www.eventbrite.com/e/reel-oakland-screening-tickets-321112023707\" rel=\"noopener noreferrer\" target=\"_blank\">Register here\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "photos-town-up-tuesday-oakland-lake-merritt",
"title": "PHOTOS: 'Town Up Tuesday' Showed Oakland's Hip-Hop Culture on Full Display",
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"headTitle": "PHOTOS: ‘Town Up Tuesday’ Showed Oakland’s Hip-Hop Culture on Full Display | KQED",
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"content": "\u003cp>On May 17, the Oakland-based nonprofit \u003ca href=\"https://www.instagram.com/urbanpeace510/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Peace Movement\u003c/a> held a voter registration event at Lake Merritt called \u003ca href=\"https://www.kqed.org/arts/13913202/town-up-tuesday-brings-bay-area-hitmakers-voter-participation-to-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Town Up Tuesday\u003c/a>. The four-hour festival had elements of a political rally, a prayer session and a family reunion. But above all, the power of Oakland’s hip-hop culture was on full display.\u003c/p>\n\u003cp>As a few vendors flanked the grassy hillside that sits adjacent to the landmark Fairyland theme park, attendees sat scattered on the grass while even more stood in front of Lake Merritt’s bandstand. People danced and held up their phones, capturing footage of some of the Bay Area’s most beloved musicians.\u003c/p>\n\u003cp>[aside postID='arts_13825052']The highly energetic artist from East Oakland, \u003ca href=\"https://www.instagram.com/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, had a headline performance that didn’t disappoint. San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> big-stepped off the stage and into the audience. Crowd favorite \u003ca href=\"https://www.instagram.com/goapele/\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> performed alongside the Grammy-nominated duo \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a>. During \u003ca href=\"https://www.instagram.com/therealsymba/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba’s\u003c/a> set, guests \u003ca href=\"https://www.instagram.com/ally_cocaine/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and \u003ca href=\"https://www.instagram.com/youngjr/\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a> performed. And then Symba debuted his new track “\u003ca href=\"https://www.youtube.com/watch?v=vNm4JCPALPM\" target=\"_blank\" rel=\"noopener noreferrer\">GOAT,\u003c/a>” which officially dropped today.\u003c/p>\n\u003cp>Rappers \u003ca href=\"https://www.instagram.com/two14music/\" target=\"_blank\" rel=\"noopener noreferrer\">Two14\u003c/a>, \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">Jwalt,\u003c/a> and the duo of \u003ca href=\"https://www.instagram.com/harmoniandlyric/\" target=\"_blank\" rel=\"noopener noreferrer\">Harmoni & Lyric\u003c/a>, as well as members of the \u003ca href=\"https://www.instagram.com/theturffeinz/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Feinz\u003c/a> dance collective,\u003ca href=\"https://www.instagram.com/stealtheshow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> DJ Kleptic\u003c/a>, \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ D Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/djfuze_du/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Fuze\u003c/a> all rocked the stage, as \u003ca href=\"https://www.instagram.com/dnastee/\" target=\"_blank\" rel=\"noopener noreferrer\">Leon “Dnas” Sykes\u003c/a> and \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> held it down hosting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point during the show, author and community advocate \u003ca href=\"https://www.instagram.com/official_darryl_reed/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Reed\u003c/a> honored Urban Peace Movement founder \u003ca href=\"https://www.instagram.com/niclee510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Lee \u003c/a>with a floral gift. It was a much-deserved acknowledgement of the work she and her team undertook to make the event happen—as well as the work they do on a daily basis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>All Photos by Pendarvis Harshaw/KQED:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913547\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-14.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913548\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-13.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913549\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-12.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913550\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-11-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-11-800x600.jpg 800w, 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"excerpt": "See Goapele, Stunnaman02, Kamaiyah, Symba and more at the Lake Merritt bandstand. ",
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"title": "PHOTOS: 'Town Up Tuesday' Showed Oakland's Hip-Hop Culture on Full Display | KQED",
"description": "See Goapele, Stunnaman02, Kamaiyah, Symba and more at the Lake Merritt bandstand. ",
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"headline": "PHOTOS: 'Town Up Tuesday' Showed Oakland's Hip-Hop Culture on Full Display",
"datePublished": "2022-05-18T13:33:12-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On May 17, the Oakland-based nonprofit \u003ca href=\"https://www.instagram.com/urbanpeace510/\" target=\"_blank\" rel=\"noopener noreferrer\">Urban Peace Movement\u003c/a> held a voter registration event at Lake Merritt called \u003ca href=\"https://www.kqed.org/arts/13913202/town-up-tuesday-brings-bay-area-hitmakers-voter-participation-to-the-lake\" target=\"_blank\" rel=\"noopener noreferrer\">Town Up Tuesday\u003c/a>. The four-hour festival had elements of a political rally, a prayer session and a family reunion. But above all, the power of Oakland’s hip-hop culture was on full display.\u003c/p>\n\u003cp>As a few vendors flanked the grassy hillside that sits adjacent to the landmark Fairyland theme park, attendees sat scattered on the grass while even more stood in front of Lake Merritt’s bandstand. People danced and held up their phones, capturing footage of some of the Bay Area’s most beloved musicians.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The highly energetic artist from East Oakland, \u003ca href=\"https://www.instagram.com/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>, had a headline performance that didn’t disappoint. San Francisco’s \u003ca href=\"https://www.instagram.com/stunnaman02/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a> and \u003ca href=\"https://www.instagram.com/gunnagoesglobal/\" target=\"_blank\" rel=\"noopener noreferrer\">Gunna Goes Global\u003c/a> big-stepped off the stage and into the audience. Crowd favorite \u003ca href=\"https://www.instagram.com/goapele/\" target=\"_blank\" rel=\"noopener noreferrer\">Goapele\u003c/a> performed alongside the Grammy-nominated duo \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a>. During \u003ca href=\"https://www.instagram.com/therealsymba/\" target=\"_blank\" rel=\"noopener noreferrer\">Symba’s\u003c/a> set, guests \u003ca href=\"https://www.instagram.com/ally_cocaine/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and \u003ca href=\"https://www.instagram.com/youngjr/\" target=\"_blank\" rel=\"noopener noreferrer\">Young JR\u003c/a> performed. And then Symba debuted his new track “\u003ca href=\"https://www.youtube.com/watch?v=vNm4JCPALPM\" target=\"_blank\" rel=\"noopener noreferrer\">GOAT,\u003c/a>” which officially dropped today.\u003c/p>\n\u003cp>Rappers \u003ca href=\"https://www.instagram.com/two14music/\" target=\"_blank\" rel=\"noopener noreferrer\">Two14\u003c/a>, \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> \u003ca href=\"https://www.instagram.com/official.jwalt/\" target=\"_blank\" rel=\"noopener noreferrer\">Jwalt,\u003c/a> and the duo of \u003ca href=\"https://www.instagram.com/harmoniandlyric/\" target=\"_blank\" rel=\"noopener noreferrer\">Harmoni & Lyric\u003c/a>, as well as members of the \u003ca href=\"https://www.instagram.com/theturffeinz/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Feinz\u003c/a> dance collective,\u003ca href=\"https://www.instagram.com/stealtheshow/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\"> DJ Kleptic\u003c/a>, \u003ca href=\"https://www.instagram.com/djdsharp/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ D Sharp\u003c/a> and \u003ca href=\"https://www.instagram.com/djfuze_du/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Fuze\u003c/a> all rocked the stage, as \u003ca href=\"https://www.instagram.com/dnastee/\" target=\"_blank\" rel=\"noopener noreferrer\">Leon “Dnas” Sykes\u003c/a> and \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> held it down hosting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point during the show, author and community advocate \u003ca href=\"https://www.instagram.com/official_darryl_reed/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Darryl Reed\u003c/a> honored Urban Peace Movement founder \u003ca href=\"https://www.instagram.com/niclee510/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Nicole Lee \u003c/a>with a floral gift. It was a much-deserved acknowledgement of the work she and her team undertook to make the event happen—as well as the work they do on a daily basis.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>All Photos by Pendarvis Harshaw/KQED:\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913544\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-17.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13913546\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/Image-from-iOS-15-1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
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"mindshift": {
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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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"order": 12
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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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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
"id": "possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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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": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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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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"source": "kqed",
"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"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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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Science-Friday-Podcast-Tile-360x360-1.jpg",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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