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"content": "\u003cdiv class=\"post-body\">\u003cp>“We love the city of Oakland, and we love young people in Oakland,” Lee says, excited about offering entertainment and socializing after two years of a pandemic. “But the other reason for doing this event is that participation in local elections really matters, and especially the voice of young people in those elections.”\u003c/p>\n\u003cp>So, while attendees celebrate to “\u003ca href=\"https://www.kqed.org/arts/13825052/kamaiyah-surprises-hayward-high-school-with-black-panther-tickets\" rel=\"noopener noreferrer\" target=\"_blank\">How Does It Feel\u003c/a>” or “\u003ca href=\"https://www.kqed.org/arts/13900085/stunnaman02-and-the-big-steppin-energy-in-the-room\" rel=\"noopener noreferrer\" target=\"_blank\">Big Steppin’\u003c/a>,” they’ll also receive information about the upcoming Alameda County races for District Attorney and the Board of Supervisors. In November, voters will decide the Mayor of Oakland. QR codes around the event will lead to voter registration forms, and volunteers will be out in the crowd, talking to fans about the elections.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Lee says, it’s a celebration, sure. But with issues like housing and economic development affecting the lived experience of the next generation in The Town, “it’s also a place for people to get educated, in fun way, about why it’s important to get involved in local elections.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Town Up Tuesday gets underway on Tuesday, May 17, from 3-7pm, at the Edoff Memorial Bandstand at Lake Merritt. Admission is free with registration. \u003ca href=\"https://www.eventbrite.com/e/town-up-tuesday-live-music-festival-tickets-324411703137\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Hyphy Meets Hot Wings at Sideshow Kitchen",
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"content": "\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you order at \u003c/span>\u003ca href=\"https://www.sideshowkitchen.com/\">\u003cspan style=\"font-weight: 400\">Sideshow Kitchen’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> street-facing window in North Oakland, you might hear Larry June’s “Smoothies in 1991” lazily playing in the background. Above the counter, a collection of old-school Mac Dre, Spice 1 and Tupac albums overlook the cash register like a holy trinity of Bay Area saints. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The workers move rhythmically—cranking out burgers, frying fish and tossing fries—while the owner, Mike Beatrice, pours draft beers and takes orders with the collected coolness of someone accustomed to swinging a V8-powered machine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this neighborhood kickback, you can grub on the popular Sideshow Burger, a double beef patty with all the fixings. Or you can mess around and get the 12-piece Hyphy Hot Wings, which come dolloped with their housemade “Hyphy Hot Sauce” of mild peppers, smoky Jamaican jerk seasoning and other spices. Or you can try my personal favorite, the Hella Hyphy Fried Chicken Sandwich—a heavenly stack of fried chicken, jalapeño-infused coleslaw, honey mustard and, of course, more of that saucy Hyphyness, all piled on a soft La Jolla bun. You’ll definitely want a side of the paprika-dusted crinkle-cut garlic fries, too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">No matter what you decide, the choices at Sideshow are aplenty (yup), so it’s impossible to leave the place feeling empty-stomached (nope).\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\" citation=\"Mike Beatrice\"]“I want to preserve that [spirit]. This is for the community, the people who deserve it and have been here for a long time. This is for the real Town people.”[/pullquote]The restaurant’s hyphy-era vibes are unmistakable, and they’re as flavorfully sprinkled with Bay Area culture as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">E-40’s ice cream\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> brand—a dessert option that Beatrice hopes to offer soon. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Recently celebrating its five-year anniversary—and having just signed a new five-year lease—the spot feels authentic and lively, with an aim to not only serve smackin’ plates, but to represent the local community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SideshowKitchen_Mike-800x533.jpg\" alt=\"Man holds up two peace signs while standing in front of his restaurant named Sideshow, with hand painted sign behind him that says hot food\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sideshow Kitchen founder Mike Beatrice has been a North Oakland resident and business owner for the past 15 years. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over the years, more commercialized shit has popped up around here and Emeryville, and it loses the Bay Area spirit,” says Beatrice, who runs the restaurant with his wife Salma and best friend Jose Luis Leon, who functions as the head chef. “I want to preserve that [spirit]. This is for the community, the people who deserve it and have been here for a long time. This is for the real Town people.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I sat down with Beatrice to get a sense of what makes his restaurant worth a trip to the North Pole.\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\">********\u003c/p>\n\u003cp>\u003cb>KQED: Tell us about yourself and your history with food. What inspired you to get into the culinary arts? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I grew up with my pops in the restaurant business. I’m originally from the East Coast, and my first experience was working in [my dad’s] restaurant when I would get in trouble at school. I’d get suspended and have to wash dishes and do grunt work, cleaning bathrooms. The chef would bring his son, too, and I saw that that kid got paid, but since I was on punishment, I wasn’t getting paid. So I wanted to get money and started taking it more seriously. After that, I always kept a restaurant job growing up. I’ve also worked night clubs, bartending, fine dining. From 2016 to 2020, I ran \u003ca href=\"https://www.facebook.com/oakalndhomegrown/\">Homegrown Oakland\u003c/a> as a smoothie and salad shop. I decided to close that during the pandemic and focus on Sideshow. Now I’m here everyday.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your connection to the Bay Area? When did you arrive here, and what’s your favorite thing about the Bay’s culinary scene?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I moved to San Francisco from East Boston when I was younger. Fifteen years ago I settled into this specific neighborhood. I live right down the street and have been here for hella long. At first I felt a little lost in California coming from the East Coast. But as soon as I pulled up in Oakland, I felt like it was home. It felt like what I grew up around—independent people just hustling and grinding. It felt natural to me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In terms of food, the Bay has lots of folks who aren’t classically trained chefs, and I appreciate that. That creates a rawness from the heart and soul. The people here are cooking what they grew up with, maybe something their grandmothers would cook. It’s also just so diverse and competitive. There are lots of people making burgers and fried chicken everywhere, so you have to figure out what sets you apart. It’s a hybridization of many things.\u003c/span>\u003c/p>\n\u003cp>https://www.instagram.com/p/CHHb-VjgVxQ/\u003c/p>\n\u003cp>\u003cb>As an Italian American from the East Coast, has anyone ever questioned the name choice behind your restaurant?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep it simple, no. I lived and breathed all the culture I’m portraying. I grew up driving a [Mustang] 5.0 and my brother had a [Camaro] Z-28. We rode motorcycles and dirt bikes. We had a studio growing up and used to rap, and I always listened to Bay music. It’s a natural representation of myself. Even though I moved here from the East Coast as a teen, I still grew up in this lifestyle and would always go to sideshows, drove the cars, was at the events. To me, this is normal life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While we were [building out the restaurant], people were always slapping music outside, and we were thinking of a name at the time, and since there was basically just a sideshow happening right there in front of us, the idea was super organic and natural and on the fly. We rolled with it, and we haven’t stopped. I know it’s a bold name, but ever since we started out, local people pull up on us to see if we check out. Sideshow is a neighborhood spot. We’re preserving the culture, not erasing it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What has been a highlight for you during your time at Sideshow Kitchen?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just knowing that we made it through COVID and made it even better than before. We went from nothing happening at all to finding a way to build it back ten times stronger. We built a camaraderie and trust that helped push our business forward. We had a no-quit attitude. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is the beginning of year six now. It was an interesting road because we built this place with our bare hands, me and my brother. My brother has a business called Sons of Salvage. We demolitioned this place together and rebuilt it from scratch. The tables, the walls—we made all that.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913217\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SideshowKitchen_spice1-800x533.jpg\" alt=\"Two music album covers are displayed on a shelf inside the restaurant. One album is of Spice 1, the other is of Mac Dre.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop legends, Spice 1 and Mac Dre, overlook the restaurant. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What Bay Area rappers do you listen to who have influenced your culinary craft?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13907726,arts_13908052']Shit. Mac Dre, J Stalin, Yukmouth, Fab, Keak da Sneak, those are the pillars. Nowadays, I like Offset Jim [now 22nd Jim], AllBlack, G Pop. G is a local dude, lives right in the neighborhood. I listen to him a lot. Depending on my mood I might be slapping Luniz or Berner. Also Pac, let’s claim that. And The Jacka, RIP. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I like the vision and hustle of all those artists. I love watching anyone go from something small to something huge. That’s why I always fuck with Bay Area rap. I grew up in the East, and it’s more industry—more rappers are signed to major record labels. But in the Bay, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">people are independent and selling out the trunk\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Everyone bites that style now, but it started out here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oh, and Larry June. I fuck with Larry June.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913225\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13913225 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-800x533.jpg\" alt=\"a friend chicken sandwich with crinkle-cut fries and ketchup, served on a metal tray, with a beer on the table\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Hyphy Fried Chicken Sandwich with a hazy IPA and a side of fries.\u003c/figcaption>\u003c/figure>\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.sideshowkitchen.com/\">Sideshow Kitchen\u003c/a> is open Tuesday–Saturday, noon to 6 pm (Thursday through Saturday, they close at 7 pm) at 942 Stanford Ave. in Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>\u003ci>¡Hella Hungry! is a column about Bay Area foodmakers, exploring the region’s culinary cultures through the mouth of a first-generation local.\u003c/i>\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">When you order at \u003c/span>\u003ca href=\"https://www.sideshowkitchen.com/\">\u003cspan style=\"font-weight: 400\">Sideshow Kitchen’s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> street-facing window in North Oakland, you might hear Larry June’s “Smoothies in 1991” lazily playing in the background. Above the counter, a collection of old-school Mac Dre, Spice 1 and Tupac albums overlook the cash register like a holy trinity of Bay Area saints. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The workers move rhythmically—cranking out burgers, frying fish and tossing fries—while the owner, Mike Beatrice, pours draft beers and takes orders with the collected coolness of someone accustomed to swinging a V8-powered machine.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this neighborhood kickback, you can grub on the popular Sideshow Burger, a double beef patty with all the fixings. Or you can mess around and get the 12-piece Hyphy Hot Wings, which come dolloped with their housemade “Hyphy Hot Sauce” of mild peppers, smoky Jamaican jerk seasoning and other spices. Or you can try my personal favorite, the Hella Hyphy Fried Chicken Sandwich—a heavenly stack of fried chicken, jalapeño-infused coleslaw, honey mustard and, of course, more of that saucy Hyphyness, all piled on a soft La Jolla bun. You’ll definitely want a side of the paprika-dusted crinkle-cut garlic fries, too. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">No matter what you decide, the choices at Sideshow are aplenty (yup), so it’s impossible to leave the place feeling empty-stomached (nope).\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The restaurant’s hyphy-era vibes are unmistakable, and they’re as flavorfully sprinkled with Bay Area culture as \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">E-40’s ice cream\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> brand—a dessert option that Beatrice hopes to offer soon. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Recently celebrating its five-year anniversary—and having just signed a new five-year lease—the spot feels authentic and lively, with an aim to not only serve smackin’ plates, but to represent the local community.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913216\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913216\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SideshowKitchen_Mike-800x533.jpg\" alt=\"Man holds up two peace signs while standing in front of his restaurant named Sideshow, with hand painted sign behind him that says hot food\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_Mike.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sideshow Kitchen founder Mike Beatrice has been a North Oakland resident and business owner for the past 15 years. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Over the years, more commercialized shit has popped up around here and Emeryville, and it loses the Bay Area spirit,” says Beatrice, who runs the restaurant with his wife Salma and best friend Jose Luis Leon, who functions as the head chef. “I want to preserve that [spirit]. This is for the community, the people who deserve it and have been here for a long time. This is for the real Town people.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I sat down with Beatrice to get a sense of what makes his restaurant worth a trip to the North Pole.\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\">********\u003c/p>\n\u003cp>\u003cb>KQED: Tell us about yourself and your history with food. What inspired you to get into the culinary arts? \u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I grew up with my pops in the restaurant business. I’m originally from the East Coast, and my first experience was working in [my dad’s] restaurant when I would get in trouble at school. I’d get suspended and have to wash dishes and do grunt work, cleaning bathrooms. The chef would bring his son, too, and I saw that that kid got paid, but since I was on punishment, I wasn’t getting paid. So I wanted to get money and started taking it more seriously. After that, I always kept a restaurant job growing up. I’ve also worked night clubs, bartending, fine dining. From 2016 to 2020, I ran \u003ca href=\"https://www.facebook.com/oakalndhomegrown/\">Homegrown Oakland\u003c/a> as a smoothie and salad shop. I decided to close that during the pandemic and focus on Sideshow. Now I’m here everyday.\u003c/span>\u003c/p>\n\u003cp>\u003cb>What’s your connection to the Bay Area? When did you arrive here, and what’s your favorite thing about the Bay’s culinary scene?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I moved to San Francisco from East Boston when I was younger. Fifteen years ago I settled into this specific neighborhood. I live right down the street and have been here for hella long. At first I felt a little lost in California coming from the East Coast. But as soon as I pulled up in Oakland, I felt like it was home. It felt like what I grew up around—independent people just hustling and grinding. It felt natural to me.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In terms of food, the Bay has lots of folks who aren’t classically trained chefs, and I appreciate that. That creates a rawness from the heart and soul. The people here are cooking what they grew up with, maybe something their grandmothers would cook. It’s also just so diverse and competitive. There are lots of people making burgers and fried chicken everywhere, so you have to figure out what sets you apart. It’s a hybridization of many things.\u003c/span>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>As an Italian American from the East Coast, has anyone ever questioned the name choice behind your restaurant?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">To keep it simple, no. I lived and breathed all the culture I’m portraying. I grew up driving a [Mustang] 5.0 and my brother had a [Camaro] Z-28. We rode motorcycles and dirt bikes. We had a studio growing up and used to rap, and I always listened to Bay music. It’s a natural representation of myself. Even though I moved here from the East Coast as a teen, I still grew up in this lifestyle and would always go to sideshows, drove the cars, was at the events. To me, this is normal life. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">While we were [building out the restaurant], people were always slapping music outside, and we were thinking of a name at the time, and since there was basically just a sideshow happening right there in front of us, the idea was super organic and natural and on the fly. We rolled with it, and we haven’t stopped. I know it’s a bold name, but ever since we started out, local people pull up on us to see if we check out. Sideshow is a neighborhood spot. We’re preserving the culture, not erasing it. \u003c/span>\u003c/p>\n\u003cp>\u003cb>What has been a highlight for you during your time at Sideshow Kitchen?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Just knowing that we made it through COVID and made it even better than before. We went from nothing happening at all to finding a way to build it back ten times stronger. We built a camaraderie and trust that helped push our business forward. We had a no-quit attitude. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This is the beginning of year six now. It was an interesting road because we built this place with our bare hands, me and my brother. My brother has a business called Sons of Salvage. We demolitioned this place together and rebuilt it from scratch. The tables, the walls—we made all that.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913217\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913217\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/SideshowKitchen_spice1-800x533.jpg\" alt=\"Two music album covers are displayed on a shelf inside the restaurant. One album is of Spice 1, the other is of Mac Dre.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/SideshowKitchen_spice1.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bay Area hip-hop legends, Spice 1 and Mac Dre, overlook the restaurant. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cb>What Bay Area rappers do you listen to who have influenced your culinary craft?\u003c/b>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Shit. Mac Dre, J Stalin, Yukmouth, Fab, Keak da Sneak, those are the pillars. Nowadays, I like Offset Jim [now 22nd Jim], AllBlack, G Pop. G is a local dude, lives right in the neighborhood. I listen to him a lot. Depending on my mood I might be slapping Luniz or Berner. Also Pac, let’s claim that. And The Jacka, RIP. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">I like the vision and hustle of all those artists. I love watching anyone go from something small to something huge. That’s why I always fuck with Bay Area rap. I grew up in the East, and it’s more industry—more rappers are signed to major record labels. But in the Bay, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13907726/e-40-goon-with-the-spoon-bay-area-rappers-food-entrepreneurs-hustle\">\u003cspan style=\"font-weight: 400\">people are independent and selling out the trunk\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. Everyone bites that style now, but it started out here.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Oh, and Larry June. I fuck with Larry June.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13913225\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13913225 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-800x533.jpg\" alt=\"a friend chicken sandwich with crinkle-cut fries and ketchup, served on a metal tray, with a beer on the table\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/sideshowkitchen_chickensandwich.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Hyphy Fried Chicken Sandwich with a hazy IPA and a side of fries.\u003c/figcaption>\u003c/figure>\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.sideshowkitchen.com/\">Sideshow Kitchen\u003c/a> is open Tuesday–Saturday, noon to 6 pm (Thursday through Saturday, they close at 7 pm) at 942 Stanford Ave. in Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bright and early one morning a few weeks ago, I stepped into the media academy at Fremont High School, where the walls are adorned with posters promoting Bay Area culture and groggy teenagers looked toward their teacher, Leon Sykes, as he discussed media literacy and the craft of storytelling.\u003c/p>\n\u003cp>I was there to guest lecture on my experience as a journalist, and to emphasize the importance of speaking out about what’s going on in your life– in your home and in your community.\u003c/p>\n\u003cp>As a part of my workshop, I interviewed students– asking them to tell me about the things that grind their gears, the issues that deeply bother them, the circumstances that make them upset. My question was, ‘where they got you messed up at?’\u003c/p>\n\u003cp>Turns out they didn’t need my advice, they knew how to use their voices, they just needed a platform and a mic. They brought up social issues, family dynamics and their sleep-to-homework ratio, as well as what can be done about these problems.\u003c/p>\n\u003cp>On this episode, I invite you to take a few minutes and listen to the young scholars, because they’ve got some valuable observations and a couple unique solutions.\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=KQINC7300186520\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13912661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Image-from-iOS-15-copy-800x600.jpg\" alt=\"Pendarvis Harshaw leads a Rightnowish workshop at Fremont High School in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw leads a Rightnowish workshop at Fremont High School in Oakland. \u003ccite>(Leon Sykes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"excerpt": "As part of KQED's Youth Takeover, Pen visits a 10th grade media class at Fremont High in Oakland.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bright and early one morning a few weeks ago, I stepped into the media academy at Fremont High School, where the walls are adorned with posters promoting Bay Area culture and groggy teenagers looked toward their teacher, Leon Sykes, as he discussed media literacy and the craft of storytelling.\u003c/p>\n\u003cp>I was there to guest lecture on my experience as a journalist, and to emphasize the importance of speaking out about what’s going on in your life– in your home and in your community.\u003c/p>\n\u003cp>As a part of my workshop, I interviewed students– asking them to tell me about the things that grind their gears, the issues that deeply bother them, the circumstances that make them upset. My question was, ‘where they got you messed up at?’\u003c/p>\n\u003cp>Turns out they didn’t need my advice, they knew how to use their voices, they just needed a platform and a mic. They brought up social issues, family dynamics and their sleep-to-homework ratio, as well as what can be done about these problems.\u003c/p>\n\u003cp>On this episode, I invite you to take a few minutes and listen to the young scholars, because they’ve got some valuable observations and a couple unique solutions.\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=KQINC7300186520\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cfigure id=\"attachment_13912661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13912661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Image-from-iOS-15-copy-800x600.jpg\" alt=\"Pendarvis Harshaw leads a Rightnowish workshop at Fremont High School in Oakland.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-15-copy.jpg 1440w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pendarvis Harshaw leads a Rightnowish workshop at Fremont High School in Oakland. \u003ccite>(Leon Sykes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Dazié Grego, 'Middle Passaged'",
"headTitle": "Dazié Grego, ‘Middle Passaged’ | KQED",
"content": "\u003cfigure id=\"attachment_13912168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/DazieGrego.MAIN_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13912168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_.jpg 854w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Dazié Grego. \u003ccite>(Courtesy Dazié Grego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Middle Passaged,’ by Dazié Grego\u003c/h2>\n\u003cp>\u003cem>Born of cotton wombs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Softly whipped\u003c/em>\u003c/p>\n\u003cp>\u003cem>to coffin\u003c/em>\u003c/p>\n\u003cp>\u003cem>Nappy hair to prune\u003c/em>\u003c/p>\n\u003cp>\u003cem>in hopes to stop the laughin’\u003c/em>\u003c/p>\n\u003cp>\u003cem>Blistered foot is doomed\u003c/em>\u003c/p>\n\u003cp>\u003cem>to walk, another day\u003c/em>\u003c/p>\n\u003cp>\u003cem>Uneducated tongue\u003c/em>\u003c/p>\n\u003cp>\u003cem>careful what you say\u003c/em>\u003c/p>\n\u003cp>\u003cem>Broke shoulders spend your life\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hesitant but look\u003c/em>\u003c/p>\n\u003cp>\u003cem>See not what holds today\u003c/em>\u003c/p>\n\u003cp>\u003cem>but pray for what’s been took\u003c/em>\u003c/p>\n\u003cp>\u003cem>We connect to our ancestors\u003c/em>\u003c/p>\n\u003cp>\u003cem>through the dialect we speak.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We protect our broken English\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our so called “poor” grammar\u003c/em>\u003c/p>\n\u003cp>\u003cem>Because more important than any language\u003c/em>\u003c/p>\n\u003cp>\u003cem>is the oral history we must keep\u003c/em>\u003c/p>\n\u003cp>\u003cem>It is swimming between our tongues\u003c/em>\u003c/p>\n\u003cp>\u003cem>and the very roof of our mouths.\u003c/em>\u003c/p>\n\u003cp>\u003cem>It is an accent from Africa, United States\u003c/em>\u003c/p>\n\u003cp>\u003cem>North or South\u003c/em>\u003c/p>\n\u003cp>\u003cem>We are the children who have no written language\u003c/em>\u003c/p>\n\u003cp>\u003cem>We hieroglyph pilgrims of the ocean\u003c/em>\u003c/p>\n\u003cp>\u003cem>We Voo Doo Prince\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eyes weeping willows\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green moss and forgotten days of mounting lions\u003c/em>\u003c/p>\n\u003cp>\u003cem>who still know our names.\u003c/em>\u003c/p>\n\u003cp>\u003cem>They pace behind bars\u003c/em>\u003c/p>\n\u003cp>\u003cem>in zoos\u003c/em>\u003c/p>\n\u003cp>\u003cem>Not unlike to many young Black brothers\u003c/em>\u003c/p>\n\u003cp>\u003cem>The growls disturb the once sweet dreams\u003c/em>\u003c/p>\n\u003cp>\u003cem>We hear them under covers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can’t reach for the hand of God\u003c/em>\u003c/p>\n\u003cp>\u003cem>but passed the hand of mothers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hoard the love that’s in your heart\u003c/em>\u003c/p>\n\u003cp>\u003cem>then look for some from others\u003c/em>\u003c/p>\n\u003cp>\u003cem>He thrashes his hips against his lover\u003c/em>\u003c/p>\n\u003cp>\u003cem>Refuses to turn over\u003c/em>\u003c/p>\n\u003cp>\u003cem>and become receptive\u003c/em>\u003c/p>\n\u003cp>\u003cem>Believes that death is born of absorbing\u003c/em>\u003c/p>\n\u003cp>\u003cem>His lovers own dying seed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Nothing grows.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Wearing skin\u003c/em>\u003c/p>\n\u003cp>\u003cem>like withered leaves\u003c/em>\u003c/p>\n\u003cp>\u003cem>Press your ear to my chest\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hear the mischievous wind\u003c/em>\u003c/p>\n\u003cp>\u003cem>left seeping,\u003c/em>\u003c/p>\n\u003cp>\u003cem>heart keeping\u003c/em>\u003c/p>\n\u003cp>\u003cem>Kisses left by breath\u003c/em>\u003c/p>\n\u003cp>\u003cem>that can not be perceived\u003c/em>\u003c/p>\n\u003cp>\u003cem>Do not forget\u003c/em>\u003c/p>\n\u003cp>\u003cem>the beloved can always leave\u003c/em>\u003c/p>\n\u003cp>\u003cem>Water thrusts spilling blood of pirates\u003c/em>\u003c/p>\n\u003cp>\u003cem>with swords unsheathed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Froth on the shore\u003c/em>\u003c/p>\n\u003cp>\u003cem>Un-drying saliva of Africans bones and names\u003c/em>\u003c/p>\n\u003cp>\u003cem>that will never be retrieved\u003c/em>\u003c/p>\n\u003cp>\u003cem>I look to her call out cousin\u003c/em>\u003c/p>\n\u003cp>\u003cem>scream “uncle”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cry do you remember me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>Was it the vessel, the ocean, or pale skins\u003c/em>\u003c/p>\n\u003cp>\u003cem>that stole you from me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>No tears travel from the green in my Atlantic\u003c/em>\u003c/p>\n\u003cp>\u003cem>I middle passaged tenderly.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912130\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-1-e1650386603715-800x935.jpg\" alt=\"Poet Dazié Grego wears a black sweater while posing and looking directly into the camera.\" width=\"600\" height=\"700\" class=\"size-medium wp-image-13912130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-800x935.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-768x897.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715.jpg 854w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">Oakland poet Dazié Grego. \u003ccite>(Courtesy Dazié Grego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Dazié Grego: This poem was born in an attempt to identify the moment in our history that an African womb became “a cotton womb.” One giving birth to an African child. The other producing a Black slave. “Born of cotton wombs” was a thought that I felt compelled to complete. I investigate the origin of Blackness throughout many of my poems. In other words, I am inspired by exploring how our survival in this country has caused Africans to transform into Black Americans. I see the Middle Passage as the first major catalyst in producing that change.\u003c/p>\n\u003cp>\u003cstrong>When you write or perform, do you feel a connection to your ancestors? If so, can you describe that feeling?\u003c/strong>\u003c/p>\n\u003cp>Poetry is the language my ancestors speak. Often, I have said that I don’t possess the gift of writing. It is a gift that possesses me. Some of my best work was written as if I was being dictated to by an outside force. That force is the collective voice of my ancestors. It tells me who I am, and whose I am.\u003c/p>\n\u003cp>\u003cstrong>What is the role of poetry in society?\u003c/strong>\u003c/p>\n\u003cp>Poems are playgrounds for our words and a refuge to our emotions. They are the essence of empathy, mirrors we use to reveal the true nature of our humanity. Poetry is where society looks in order to experience us as our highest selves. It is the origin of self-revelation. When all other forms of communication have failed, we write and read poems.\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>Dazié Grego performs on May 14 and 15 at 3pm at the main branch of the San Francisco Public Library as part of Skywatchers, a Tenderloin performance art ensemble of which he is an associate artistic director. \u003ca href=\"https://www.abdproductions.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Grego’s 2020 poetry collection ‘Black Faggotry’ (Nomadic Press) is \u003ca href=\"https://www.nomadicpress.org/store/p/blackfaggotry\" target=\"_blank\" rel=\"noopener noreferrer\">available here\u003c/a>, and his spoken word album ‘Make Me Black’ is \u003ca href=\"https://www.daziegrego.com/commercial\" target=\"_blank\" rel=\"noopener noreferrer\">available here\u003c/a>. \u003c/em>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13912168\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/DazieGrego.MAIN_-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13912168\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/DazieGrego.MAIN_.jpg 854w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Dazié Grego. \u003ccite>(Courtesy Dazié Grego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" target=\"_blank\" rel=\"noopener noreferrer\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>‘Middle Passaged,’ by Dazié Grego\u003c/h2>\n\u003cp>\u003cem>Born of cotton wombs\u003c/em>\u003c/p>\n\u003cp>\u003cem>Softly whipped\u003c/em>\u003c/p>\n\u003cp>\u003cem>to coffin\u003c/em>\u003c/p>\n\u003cp>\u003cem>Nappy hair to prune\u003c/em>\u003c/p>\n\u003cp>\u003cem>in hopes to stop the laughin’\u003c/em>\u003c/p>\n\u003cp>\u003cem>Blistered foot is doomed\u003c/em>\u003c/p>\n\u003cp>\u003cem>to walk, another day\u003c/em>\u003c/p>\n\u003cp>\u003cem>Uneducated tongue\u003c/em>\u003c/p>\n\u003cp>\u003cem>careful what you say\u003c/em>\u003c/p>\n\u003cp>\u003cem>Broke shoulders spend your life\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hesitant but look\u003c/em>\u003c/p>\n\u003cp>\u003cem>See not what holds today\u003c/em>\u003c/p>\n\u003cp>\u003cem>but pray for what’s been took\u003c/em>\u003c/p>\n\u003cp>\u003cem>We connect to our ancestors\u003c/em>\u003c/p>\n\u003cp>\u003cem>through the dialect we speak.\u003c/em>\u003c/p>\n\u003cp>\u003cem>We protect our broken English\u003c/em>\u003c/p>\n\u003cp>\u003cem>Our so called “poor” grammar\u003c/em>\u003c/p>\n\u003cp>\u003cem>Because more important than any language\u003c/em>\u003c/p>\n\u003cp>\u003cem>is the oral history we must keep\u003c/em>\u003c/p>\n\u003cp>\u003cem>It is swimming between our tongues\u003c/em>\u003c/p>\n\u003cp>\u003cem>and the very roof of our mouths.\u003c/em>\u003c/p>\n\u003cp>\u003cem>It is an accent from Africa, United States\u003c/em>\u003c/p>\n\u003cp>\u003cem>North or South\u003c/em>\u003c/p>\n\u003cp>\u003cem>We are the children who have no written language\u003c/em>\u003c/p>\n\u003cp>\u003cem>We hieroglyph pilgrims of the ocean\u003c/em>\u003c/p>\n\u003cp>\u003cem>We Voo Doo Prince\u003c/em>\u003c/p>\n\u003cp>\u003cem>Eyes weeping willows\u003c/em>\u003c/p>\n\u003cp>\u003cem>Green moss and forgotten days of mounting lions\u003c/em>\u003c/p>\n\u003cp>\u003cem>who still know our names.\u003c/em>\u003c/p>\n\u003cp>\u003cem>They pace behind bars\u003c/em>\u003c/p>\n\u003cp>\u003cem>in zoos\u003c/em>\u003c/p>\n\u003cp>\u003cem>Not unlike to many young Black brothers\u003c/em>\u003c/p>\n\u003cp>\u003cem>The growls disturb the once sweet dreams\u003c/em>\u003c/p>\n\u003cp>\u003cem>We hear them under covers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Can’t reach for the hand of God\u003c/em>\u003c/p>\n\u003cp>\u003cem>but passed the hand of mothers\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hoard the love that’s in your heart\u003c/em>\u003c/p>\n\u003cp>\u003cem>then look for some from others\u003c/em>\u003c/p>\n\u003cp>\u003cem>He thrashes his hips against his lover\u003c/em>\u003c/p>\n\u003cp>\u003cem>Refuses to turn over\u003c/em>\u003c/p>\n\u003cp>\u003cem>and become receptive\u003c/em>\u003c/p>\n\u003cp>\u003cem>Believes that death is born of absorbing\u003c/em>\u003c/p>\n\u003cp>\u003cem>His lovers own dying seed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Nothing grows.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Wearing skin\u003c/em>\u003c/p>\n\u003cp>\u003cem>like withered leaves\u003c/em>\u003c/p>\n\u003cp>\u003cem>Press your ear to my chest\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hear the mischievous wind\u003c/em>\u003c/p>\n\u003cp>\u003cem>left seeping,\u003c/em>\u003c/p>\n\u003cp>\u003cem>heart keeping\u003c/em>\u003c/p>\n\u003cp>\u003cem>Kisses left by breath\u003c/em>\u003c/p>\n\u003cp>\u003cem>that can not be perceived\u003c/em>\u003c/p>\n\u003cp>\u003cem>Do not forget\u003c/em>\u003c/p>\n\u003cp>\u003cem>the beloved can always leave\u003c/em>\u003c/p>\n\u003cp>\u003cem>Water thrusts spilling blood of pirates\u003c/em>\u003c/p>\n\u003cp>\u003cem>with swords unsheathed\u003c/em>\u003c/p>\n\u003cp>\u003cem>Froth on the shore\u003c/em>\u003c/p>\n\u003cp>\u003cem>Un-drying saliva of Africans bones and names\u003c/em>\u003c/p>\n\u003cp>\u003cem>that will never be retrieved\u003c/em>\u003c/p>\n\u003cp>\u003cem>I look to her call out cousin\u003c/em>\u003c/p>\n\u003cp>\u003cem>scream “uncle”\u003c/em>\u003c/p>\n\u003cp>\u003cem>Cry do you remember me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>Was it the vessel, the ocean, or pale skins\u003c/em>\u003c/p>\n\u003cp>\u003cem>that stole you from me?\u003c/em>\u003c/p>\n\u003cp>\u003cem>No tears travel from the green in my Atlantic\u003c/em>\u003c/p>\n\u003cp>\u003cem>I middle passaged tenderly.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13912130\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/download-1-e1650386603715-800x935.jpg\" alt=\"Poet Dazié Grego wears a black sweater while posing and looking directly into the camera.\" width=\"600\" height=\"700\" class=\"size-medium wp-image-13912130\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-800x935.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-160x187.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715-768x897.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/download-1-e1650386603715.jpg 854w\" sizes=\"(max-width: 600px) 100vw, 600px\" />\u003cfigcaption class=\"wp-caption-text\">Oakland poet Dazié Grego. \u003ccite>(Courtesy Dazié Grego)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What inspired this piece?\u003c/strong>\u003c/p>\n\u003cp>Dazié Grego: This poem was born in an attempt to identify the moment in our history that an African womb became “a cotton womb.” One giving birth to an African child. The other producing a Black slave. “Born of cotton wombs” was a thought that I felt compelled to complete. I investigate the origin of Blackness throughout many of my poems. In other words, I am inspired by exploring how our survival in this country has caused Africans to transform into Black Americans. I see the Middle Passage as the first major catalyst in producing that change.\u003c/p>\n\u003cp>\u003cstrong>When you write or perform, do you feel a connection to your ancestors? If so, can you describe that feeling?\u003c/strong>\u003c/p>\n\u003cp>Poetry is the language my ancestors speak. Often, I have said that I don’t possess the gift of writing. It is a gift that possesses me. Some of my best work was written as if I was being dictated to by an outside force. That force is the collective voice of my ancestors. It tells me who I am, and whose I am.\u003c/p>\n\u003cp>\u003cstrong>What is the role of poetry in society?\u003c/strong>\u003c/p>\n\u003cp>Poems are playgrounds for our words and a refuge to our emotions. They are the essence of empathy, mirrors we use to reveal the true nature of our humanity. Poetry is where society looks in order to experience us as our highest selves. It is the origin of self-revelation. When all other forms of communication have failed, we write and read poems.\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>Dazié Grego performs on May 14 and 15 at 3pm at the main branch of the San Francisco Public Library as part of Skywatchers, a Tenderloin performance art ensemble of which he is an associate artistic director. \u003ca href=\"https://www.abdproductions.org\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Grego’s 2020 poetry collection ‘Black Faggotry’ (Nomadic Press) is \u003ca href=\"https://www.nomadicpress.org/store/p/blackfaggotry\" target=\"_blank\" rel=\"noopener noreferrer\">available here\u003c/a>, and his spoken word album ‘Make Me Black’ is \u003ca href=\"https://www.daziegrego.com/commercial\" target=\"_blank\" rel=\"noopener noreferrer\">available here\u003c/a>. \u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Miss Ollie’s Will Reopen as a Takeout Window in Uptown Oakland",
"headTitle": "Miss Ollie’s Will Reopen as a Takeout Window in Uptown Oakland | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">On its last day of business, longtime customers lined up outside Miss Ollie’s to put in one last order of Bajan-style fried chicken, drink one final rum punch and pay their respects to a restaurant that has been a haven for Afro-Caribbean food lovers in Oakland for the past 10 years—\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910410/miss-ollies-oakland-closing\">\u003cspan style=\"font-weight: 400\">especially for the city’s Black, brown and queer communities\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thankfully, chef-owner Sarah Kirnon made it clear that this wouldn’t be the end of the road for Miss Ollie’s. Though it has been less than a week since she \u003c/span>\u003ca href=\"https://www.instagram.com/p/CcT1R1BoHn4/\">\u003cspan style=\"font-weight: 400\">finished clearing out\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the old dining room, Kirnon is already moving on to the next iteration of her business: a takeout window that’ll be run out of a commissary kitchen in Uptown Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once the lease is finalized, Kirnon will announce the exact location, but she says it’s already a “done deal.” The as-yet-unnamed outpost won’t be called Miss Ollie’s—for now, Kirnon is reserving that name for the catering component of her business. But starting in June, the new takeout spot will serve a short, rotating menu of Miss Ollie’s favorites on a to-go basis. Which means devotees of Kirnon’s oxtails and fried chicken will still have a place where they can go to satisfy their craving.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People still want Miss Ollie’s in their homes,” Kirnon says. “It’s hard to lay her to rest.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13912155\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022.jpg\" alt=\"Woman in a face mask takes an order from customers at the bar counter of a restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Sarah Kirnon takes an order at her Old Oakland restaurant Miss Ollie’s a few weeks before it closed. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Reached by phone while on vacation in Barbados, Kirnon says one of the lessons she took away from the pandemic is that the sit-down restaurant model in the U.S. is fundamentally broken. She now wants to shift toward “micro spaces” that offer a more sustainable business model. The new takeout spot won’t have dine-in service at all, though it will set up some tables outside on weekends. It’ll open at 11am each morning and close whenever everything sells out. And the menu will be simple and concise—just a daily special plus one or two additional staples. The idea is for customers to be able to swing by on a certain day of the week for saltfish and ackee, and a different day if they want to snag a bucket of fried chicken.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“What we did for the last 10 years, these are the top dishes that worked for us, and we’re going to showcase them on a daily basis,” Kirnon says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For customers who do want more of the intimate, communal experience that Miss Ollie’s used to provide in Old Oakland, Kirnon plans on hosting a chef’s table once a month. For that one night only, the restaurant will open for in-person dining, and Kirnon will put together a tasting menu of, as she puts it, all the “weird Caribbean food” that she was never able to offer on a regular basis—dishes like the sea urchin and Dungeness crab porridge she used to serve when Miss Ollie’s first opened. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13910462\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022.jpg\" alt=\"Chef Sarah Kirnon holds a plate of Caribbean patties.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A new coffee shop would provide a showcase for Miss Ollie’s popular Caribbean patties. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">As challenging as the past three years have been, Kirnon expects the new takeout window to be a big success. There was such an outpouring of support in the weeks after she announced that the restaurant would be closing, Kirnon says, that she already has six big catering gigs lined up. And she feels ready now to explore new ways of creating community that aren’t your traditional full-service restaurant.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of those new ventures will be a Caribbean patty and coffee shop that she hopes to open in downtown Oakland, not far from the old Miss Ollie’s location. (She has signed a letter of intent on a space and is now waiting for a response.) The idea, Kirnon says, will be to provide a showcase for her popular Caribbean patties. She’ll also sell her Creole doughnuts and coffee sourced from a company in Haiti—just drip coffee with condensed milk, Kirnon says. (“We’re not trying to do lattes.”) And there will be Caribbean drinks—sorrel, sea moss, tamarind juice and ginger beer—made and bottled at the Uptown commissary kitchen.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13910410,arts_13904416']The cafe will also offer a selection of the kinds of traditional Caribbean sweet cakes and other sweets that Kirnon’s great-grandmother and grandmother (the original “Miss Ollie”) used to make in Barbados: dense coconut bread sweetened with brown sugar; black cake marinated in rum and molasses to be served during Christmastime; and conkies, a tamale-like steamed sweet made with pumpkin, cassava, yucca and sweet potato.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both locations will also sell bottles of Kirnon’s fiery pepper sauce and the green Bajan “seasoning” she uses for her fried chicken.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kirnon says the cafe could be ready to open as early as later this summer if she’s able to secure a space for it. But the takeout window should be ready to start slinging fried chicken and oxtails by the beginning of June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’ll throw a big party for Juneteenth,” Kirnon says.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on both the cafe and takeout window openings, follow Miss Ollie’s on \u003ca href=\"https://www.instagram.com/missolliesoakland/\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">On its last day of business, longtime customers lined up outside Miss Ollie’s to put in one last order of Bajan-style fried chicken, drink one final rum punch and pay their respects to a restaurant that has been a haven for Afro-Caribbean food lovers in Oakland for the past 10 years—\u003c/span>\u003ca href=\"https://www.kqed.org/arts/13910410/miss-ollies-oakland-closing\">\u003cspan style=\"font-weight: 400\">especially for the city’s Black, brown and queer communities\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Thankfully, chef-owner Sarah Kirnon made it clear that this wouldn’t be the end of the road for Miss Ollie’s. Though it has been less than a week since she \u003c/span>\u003ca href=\"https://www.instagram.com/p/CcT1R1BoHn4/\">\u003cspan style=\"font-weight: 400\">finished clearing out\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> the old dining room, Kirnon is already moving on to the next iteration of her business: a takeout window that’ll be run out of a commissary kitchen in Uptown Oakland. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Once the lease is finalized, Kirnon will announce the exact location, but she says it’s already a “done deal.” The as-yet-unnamed outpost won’t be called Miss Ollie’s—for now, Kirnon is reserving that name for the catering component of her business. But starting in June, the new takeout spot will serve a short, rotating menu of Miss Ollie’s favorites on a to-go basis. Which means devotees of Kirnon’s oxtails and fried chicken will still have a place where they can go to satisfy their craving.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“People still want Miss Ollie’s in their homes,” Kirnon says. “It’s hard to lay her to rest.” \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13912155\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13912155\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022.jpg\" alt=\"Woman in a face mask takes an order from customers at the bar counter of a restaurant.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/004_KQEDArts_MissOllies_03042022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Chef Sarah Kirnon takes an order at her Old Oakland restaurant Miss Ollie’s a few weeks before it closed. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Reached by phone while on vacation in Barbados, Kirnon says one of the lessons she took away from the pandemic is that the sit-down restaurant model in the U.S. is fundamentally broken. She now wants to shift toward “micro spaces” that offer a more sustainable business model. The new takeout spot won’t have dine-in service at all, though it will set up some tables outside on weekends. It’ll open at 11am each morning and close whenever everything sells out. And the menu will be simple and concise—just a daily special plus one or two additional staples. The idea is for customers to be able to swing by on a certain day of the week for saltfish and ackee, and a different day if they want to snag a bucket of fried chicken.\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\">“What we did for the last 10 years, these are the top dishes that worked for us, and we’re going to showcase them on a daily basis,” Kirnon says.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For customers who do want more of the intimate, communal experience that Miss Ollie’s used to provide in Old Oakland, Kirnon plans on hosting a chef’s table once a month. For that one night only, the restaurant will open for in-person dining, and Kirnon will put together a tasting menu of, as she puts it, all the “weird Caribbean food” that she was never able to offer on a regular basis—dishes like the sea urchin and Dungeness crab porridge she used to serve when Miss Ollie’s first opened. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13910462\" class=\"wp-caption alignnone\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910462\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022.jpg\" alt=\"Chef Sarah Kirnon holds a plate of Caribbean patties.\" width=\"1920\" height=\"1280\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/002_KQEDArts_MissOllies_03042022-1536x1024.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">A new coffee shop would provide a showcase for Miss Ollie’s popular Caribbean patties. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">As challenging as the past three years have been, Kirnon expects the new takeout window to be a big success. There was such an outpouring of support in the weeks after she announced that the restaurant would be closing, Kirnon says, that she already has six big catering gigs lined up. And she feels ready now to explore new ways of creating community that aren’t your traditional full-service restaurant.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">One of those new ventures will be a Caribbean patty and coffee shop that she hopes to open in downtown Oakland, not far from the old Miss Ollie’s location. (She has signed a letter of intent on a space and is now waiting for a response.) The idea, Kirnon says, will be to provide a showcase for her popular Caribbean patties. She’ll also sell her Creole doughnuts and coffee sourced from a company in Haiti—just drip coffee with condensed milk, Kirnon says. (“We’re not trying to do lattes.”) And there will be Caribbean drinks—sorrel, sea moss, tamarind juice and ginger beer—made and bottled at the Uptown commissary kitchen.\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>The cafe will also offer a selection of the kinds of traditional Caribbean sweet cakes and other sweets that Kirnon’s great-grandmother and grandmother (the original “Miss Ollie”) used to make in Barbados: dense coconut bread sweetened with brown sugar; black cake marinated in rum and molasses to be served during Christmastime; and conkies, a tamale-like steamed sweet made with pumpkin, cassava, yucca and sweet potato.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both locations will also sell bottles of Kirnon’s fiery pepper sauce and the green Bajan “seasoning” she uses for her fried chicken.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kirnon says the cafe could be ready to open as early as later this summer if she’s able to secure a space for it. But the takeout window should be ready to start slinging fried chicken and oxtails by the beginning of June.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’ll throw a big party for Juneteenth,” Kirnon says.\u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For updates on both the cafe and takeout window openings, follow Miss Ollie’s on \u003ca href=\"https://www.instagram.com/missolliesoakland/\">Instagram\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Picture it: On the sweaty, intimate top floor of the Legionnaire Saloon in downtown Oakland, hip-hop producers, jazz musicians and electronic artists mingle and dance. From its founding in 2013 through the months just before the pandemic, \u003ca href=\"https://smartbomboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Smartbomb\u003c/a> was where the Town’s experimental creatives could meet each other and check out new acts. So when everything went awry in 2020, the crew had to figure out how to keep the party going.\u003c/p>\n\u003cp>That’s where Smartbomb’s livestreamed artist showcase, Video Home System (VHS), came in. Rather than simply performing on Zoom, the crew made it a whole production, with digital visual elements accenting footage of stripped-down home concerts: Think NPR’s Tiny Desk Concert, but with special effects, and in the corner of the artist’s bedroom.\u003c/p>\n\u003cp>“The Video Home System project was our beacon of light. We hung onto it,” says Asonic Garcia, who founded Smartbomb alongside his then-band members from the experimental hip-hop group Secret Sidewalk. (He left the group in 2015.)\u003c/p>\n\u003cp>“As the world started to open up, we looked back, like, \u003cem>damn\u003c/em>. We were very thankful that we all banded together during that time instead of getting more divided.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r9H0cIaARpo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since their first stream in May of 2020, they’ve turned the VHS into a well-oiled machine. For that first episode, they had Oakland artist \u003ca href=\"https://www.instagram.com/flatspot_/\" rel=\"noopener noreferrer\" target=\"_blank\">Flatspot_.\u003c/a> produce live visuals with a grainy disposition that looked like videos shot on handheld cameras, in the style of ’90s home movies. Smartbomb member Tony Jarone took phone calls and questions from Instagram, telling the secrets of the universe like a TV fortune teller.\u003c/p>\n\u003cp>\u003ca href=\"https://livestream.com/accounts/30154863/events/9906562/videos/226824266/player?width=960&height=540&enableInfo=true&defaultDrawer=feed&autoPlay=true&mute=false\" target=\"_blank\" rel=\"noopener noreferrer\">Five episodes later\u003c/a>, in March 2022, the project’s following had grown enough to be featured in a live performance at San Francisco’s Institute of Contemporary Art.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gH4RFal-IF4\u003c/p>\n\u003cp>On Wednesday, April 13, Smartbomb returns to Oakland for its first live performance since the start of the pandemic, set in the new downtown venue Crybaby. The show will feature rapper and producer Ovrkast; Xyla, a French horn player who makes dance music by night; and the genre-bending R&B artist Astu, among others.\u003c/p>\n\u003cp>[aside postID='arts_13910010']Also on hand will be regular Smartbomb crew members like \u003ca href=\"https://www.flatspot.tv/\" rel=\"noopener noreferrer\" target=\"_blank\">Flatspot_.\u003c/a>, who’ll be doing live special effects; Mejiwahn, who runs the Oakland record label \u003ca href=\"https://soundcloud.com/hot-record-soci-t\" rel=\"noopener noreferrer\" target=\"_blank\">Hot Records Societe\u003c/a>; and Oakland music producer Pass Doo. Together, they’ll celebrate what Smartbomb has always been about: building a community of interdisciplinary artists who appreciate each other’s craft.\u003c/p>\n\u003cp>“The Crybaby show will be our opportunity to reconnect on those special levels of experience with our community, feeling unified in space and sound again,” Garcia explains. Pre-pandemic, there were plans to move to this same venue when it was still called The Uptown, so it also feels like a full-circle moment for the crew.\u003c/p>\n\u003cfigure id=\"attachment_13911661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/W2A4715.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/W2A4715-800x533.jpg\" alt=\"smiling audience members enjoy a show in a darkly lit music venue\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audience members at a Smartbomb show at The Legionnaire on Dec. 21, 2019. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone has two years of energy stored up to let go,” he says. “Everyone’s been releasing themselves a little bit by a little bit, but there’s still a lot of energy that everyone needs to collectively release. I feel like dancefloors and shared community music events are these ultimate places for that.”\u003c/p>\n\u003cp>Last month at the Institute of Contemporary Art, Smartbomb curated a program combining all live music, short films, performances, and visual arts they showcased with VHS. After Crybaby, they’re booked to spin records at Oakland’s Bar Shiru on April 27, and they have a VHS episode scheduled to arrive sometime in May or June. The goal, as always, is to create new opportunities for artists all over the Bay.\u003c/p>\n\u003cp>“It’s only going to be the beginning of a new, post-pandemic musical movement that’s going to happen in Oakland,” Garcia says. “It’s going to be a lot of artists, a lot of collectives, a lot of events, a lot of groups, that are all going to be a part of it. I’m lucky to be in existence with all these people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Smartbomb takes place at 8pm on Wednesday, April 13, at Crybaby in Oakland. \u003ca href=\"https://crybaby.live/event-details/11960655/smartbomb-with-ovrkast-xyla-astu-alora-4d-flatspot-abby-imperial-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Picture it: On the sweaty, intimate top floor of the Legionnaire Saloon in downtown Oakland, hip-hop producers, jazz musicians and electronic artists mingle and dance. From its founding in 2013 through the months just before the pandemic, \u003ca href=\"https://smartbomboakland.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Smartbomb\u003c/a> was where the Town’s experimental creatives could meet each other and check out new acts. So when everything went awry in 2020, the crew had to figure out how to keep the party going.\u003c/p>\n\u003cp>That’s where Smartbomb’s livestreamed artist showcase, Video Home System (VHS), came in. Rather than simply performing on Zoom, the crew made it a whole production, with digital visual elements accenting footage of stripped-down home concerts: Think NPR’s Tiny Desk Concert, but with special effects, and in the corner of the artist’s bedroom.\u003c/p>\n\u003cp>“The Video Home System project was our beacon of light. We hung onto it,” says Asonic Garcia, who founded Smartbomb alongside his then-band members from the experimental hip-hop group Secret Sidewalk. (He left the group in 2015.)\u003c/p>\n\u003cp>“As the world started to open up, we looked back, like, \u003cem>damn\u003c/em>. We were very thankful that we all banded together during that time instead of getting more divided.”\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/r9H0cIaARpo'\n title='//www.youtube.com/embed/r9H0cIaARpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since their first stream in May of 2020, they’ve turned the VHS into a well-oiled machine. For that first episode, they had Oakland artist \u003ca href=\"https://www.instagram.com/flatspot_/\" rel=\"noopener noreferrer\" target=\"_blank\">Flatspot_.\u003c/a> produce live visuals with a grainy disposition that looked like videos shot on handheld cameras, in the style of ’90s home movies. Smartbomb member Tony Jarone took phone calls and questions from Instagram, telling the secrets of the universe like a TV fortune teller.\u003c/p>\n\u003cp>\u003ca href=\"https://livestream.com/accounts/30154863/events/9906562/videos/226824266/player?width=960&height=540&enableInfo=true&defaultDrawer=feed&autoPlay=true&mute=false\" target=\"_blank\" rel=\"noopener noreferrer\">Five episodes later\u003c/a>, in March 2022, the project’s following had grown enough to be featured in a live performance at San Francisco’s Institute of Contemporary Art.\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/gH4RFal-IF4'\n title='//www.youtube.com/embed/gH4RFal-IF4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On Wednesday, April 13, Smartbomb returns to Oakland for its first live performance since the start of the pandemic, set in the new downtown venue Crybaby. The show will feature rapper and producer Ovrkast; Xyla, a French horn player who makes dance music by night; and the genre-bending R&B artist Astu, among others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Also on hand will be regular Smartbomb crew members like \u003ca href=\"https://www.flatspot.tv/\" rel=\"noopener noreferrer\" target=\"_blank\">Flatspot_.\u003c/a>, who’ll be doing live special effects; Mejiwahn, who runs the Oakland record label \u003ca href=\"https://soundcloud.com/hot-record-soci-t\" rel=\"noopener noreferrer\" target=\"_blank\">Hot Records Societe\u003c/a>; and Oakland music producer Pass Doo. Together, they’ll celebrate what Smartbomb has always been about: building a community of interdisciplinary artists who appreciate each other’s craft.\u003c/p>\n\u003cp>“The Crybaby show will be our opportunity to reconnect on those special levels of experience with our community, feeling unified in space and sound again,” Garcia explains. Pre-pandemic, there were plans to move to this same venue when it was still called The Uptown, so it also feels like a full-circle moment for the crew.\u003c/p>\n\u003cfigure id=\"attachment_13911661\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/W2A4715.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911661\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/W2A4715-800x533.jpg\" alt=\"smiling audience members enjoy a show in a darkly lit music venue\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/W2A4715.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Audience members at a Smartbomb show at The Legionnaire on Dec. 21, 2019. \u003ccite>(Sarah Arnold)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Everyone has two years of energy stored up to let go,” he says. “Everyone’s been releasing themselves a little bit by a little bit, but there’s still a lot of energy that everyone needs to collectively release. I feel like dancefloors and shared community music events are these ultimate places for that.”\u003c/p>\n\u003cp>Last month at the Institute of Contemporary Art, Smartbomb curated a program combining all live music, short films, performances, and visual arts they showcased with VHS. After Crybaby, they’re booked to spin records at Oakland’s Bar Shiru on April 27, and they have a VHS episode scheduled to arrive sometime in May or June. The goal, as always, is to create new opportunities for artists all over the Bay.\u003c/p>\n\u003cp>“It’s only going to be the beginning of a new, post-pandemic musical movement that’s going to happen in Oakland,” Garcia says. “It’s going to be a lot of artists, a lot of collectives, a lot of events, a lot of groups, that are all going to be a part of it. I’m lucky to be in existence with all these people.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Smartbomb takes place at 8pm on Wednesday, April 13, at Crybaby in Oakland. \u003ca href=\"https://crybaby.live/event-details/11960655/smartbomb-with-ovrkast-xyla-astu-alora-4d-flatspot-abby-imperial-and-more/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meilani Clay, 'Birthright'",
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"content": "\u003cfigure id=\"attachment_13911721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Clay.MAIN_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Clay.MAIN_-800x800.jpg\" alt=\"An African-American woman in a blue shirt smiles in a selfie.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland-based poet Meilani Clay. \u003ccite>(Meilani Clay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" rel=\"noopener noreferrer\" target=\"_blank\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>“Birthright,” by Meilani Clay\u003c/h2>\n\u003cp>\u003cem>i tired of writing poems for white people\u003c/em>\u003c/p>\n\u003cp>\u003cem>so i gave birth to one they can’t read\u003c/em>\u003c/p>\n\u003cp>\u003cem>a copper-skinned poem\u003c/em>\u003c/p>\n\u003cp>\u003cem>revised for 37 weeks and 5 days\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poem with my exuberance\u003c/em>\u003c/p>\n\u003cp>\u003cem>wound helix around each curl\u003c/em>\u003c/p>\n\u003cp>\u003cem>l\u003c/em>\u003cem>aughing loud toward the sky\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poem with my resistance\u003c/em>\u003c/p>\n\u003cp>\u003cem>etched into a tiny furrowed brow\u003c/em>\u003c/p>\n\u003cp>\u003cem>i gave birth to a poem with my rage\u003c/em>\u003c/p>\n\u003cp>\u003cem>alchemized into a gilded voice\u003c/em>\u003c/p>\n\u003cp>\u003cem>never backing down\u003c/em>\u003c/p>\n\u003cp>\u003cem>never silent on command\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poem with my hope\u003c/em>\u003c/p>\n\u003cp>\u003cem>sewn carefully to its sternum\u003c/em>\u003c/p>\n\u003cp>\u003cem>a little patchwork yet certain all the same\u003c/em>\u003c/p>\n\u003cp>\u003cem>i gave birth to a poem\u003c/em>\u003c/p>\n\u003cp>\u003cem>that doesn’t know any words\u003c/em>\u003c/p>\n\u003cp>\u003cem>but synonyms for love and freedom\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poem that careens down sidewalks\u003c/em>\u003c/p>\n\u003cp>\u003cem>ecstatic shrieks prayers laid at the highest altar\u003c/em>\u003c/p>\n\u003cp>\u003cem>this poem’s eyelids\u003c/em>\u003c/p>\n\u003cp>\u003cem>are lined with the silk of my faith\u003c/em>\u003c/p>\n\u003cp>\u003cem>this poem is invincible\u003c/em>\u003c/p>\n\u003cp>\u003cem>still, one day, though i gave birth to this poem\u003c/em>\u003c/p>\n\u003cp>\u003cem>this people’s poem\u003c/em>\u003c/p>\n\u003cp>\u003cem>i know someone will try to read her, anyway\u003c/em>\u003c/p>\n\u003cp>\u003cem>failing they will demand i translate\u003c/em>\u003c/p>\n\u003cp>\u003cem>but the poem i birthed\u003c/em>\u003c/p>\n\u003cp>\u003cem>was never meant for their understanding\u003c/em>\u003c/p>\n\u003cp>\u003cem>for between the lines of this poem’s lashes\u003c/em>\u003c/p>\n\u003cp>\u003cem>i placed a single dream:\u003c/em>\u003c/p>\n\u003cp>\u003cem>a future that is this poem’s\u003c/em>\u003c/p>\n\u003cp>\u003cem>and this poem’s alone\u003c/em>\u003c/p>\n\u003cp>\u003cem>to write\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13911723\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Image-from-iOS-2-1020x1275.jpg\" alt=\"Meilani Clay\" width=\"640\" height=\"800\" class=\"size-large wp-image-13911723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-scaled.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Oakland poet Meilani Clay, whose book ‘and the creek don’t rise’ was published in Dec. 2021. \u003ccite>(Meilani Clay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What inspired this?\u003c/strong>\u003c/p>\n\u003cp>Meilani Clay: Early in the pandemic I was in the audience of a Zoom fundraiser for Marcus Books with some of the dopest poets (e.g. Chinaka Hodge, Danez Smith, so forth) and someone there—I feel so bad I can’t for the life of me remember this person’s name—talked about writing a poem about a concept or person, where instead of naming it, you say “this poem is/does/etc,” and then proceeded to share incredible examples.\u003c/p>\n\u003cp>I had been trying to successfully write a poem about my almost 3-year old (at the time) but they all came out hella corny or just not what I was trying to say. After hearing this poet, I was able to use that setup to craft the love letter to her I had been aching to write.\u003c/p>\n\u003cp>\u003cstrong>How did it feel to birth this poem?\u003c/strong>\u003c/p>\n\u003cp>It felt like a release! Much in the same way her actual birth felt, I let out this huge sigh of relief that I had managed to get her earthside safely.\u003c/p>\n\u003cp>\u003cstrong>You came up in Bay Area poetry circles (Youth Speaks). How does it feel being an adult doing this art in the Bay now? Any difference? \u003c/strong>\u003c/p>\n\u003cp>What’s interesting about my journey is that I haven’t been able to participate much in the adult poetry scene in the Bay. I came back home during a time in my life where I was really struggling to write, then that snowball of grad school, career, family took me even further from the work and I’ve been coming back into myself larger during this pandemic, where the human connection so vital to any of the arts has been missing.\u003c/p>\n\u003cp>All that to say, I feel new to this, even though I’m true to this. But I’ve been blessed to be connected to ridiculously smart and creative people who bring me into the fold. I’m on my way back.\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>More information about Meilani Clay’s recently published poetry book, \u003ca href=\"https://www.spdbooks.org/Products/9781889292823/and-the-creek-dont-rise.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>and the creek don’t rise\u003c/em>, can be found here\u003c/a>.\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13911721\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Clay.MAIN_.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911721\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Clay.MAIN_-800x800.jpg\" alt=\"An African-American woman in a blue shirt smiles in a selfie.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Clay.MAIN_.jpg 1068w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Oakland-based poet Meilani Clay. \u003ccite>(Meilani Clay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>Editor’s Note\u003c/strong>: Welcome to \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>. Twice each week in April, KQED Arts & Culture will present a poem by a Bay Area poet. This \u003ca href=\"https://www.kqed.org/arts/tag/poetry\" rel=\"noopener noreferrer\" target=\"_blank\">series\u003c/a> is curated by \u003cem>\u003ca href=\"https://www.kqed.org/podcasts/rightnowish\" target=\"_blank\" rel=\"noopener noreferrer\">Rightnowish\u003c/a>\u003c/em> host \u003ca href=\"https://www.kqed.org/author/ogpenn\" target=\"_blank\" rel=\"noopener noreferrer\">Pendarvis Harshaw\u003c/a>, who also speaks with each poet about their work. \u003c/em>\u003c/p>\n\u003ch2>“Birthright,” by Meilani Clay\u003c/h2>\n\u003cp>\u003cem>i tired of writing poems for white people\u003c/em>\u003c/p>\n\u003cp>\u003cem>so i gave birth to one they can’t read\u003c/em>\u003c/p>\n\u003cp>\u003cem>a copper-skinned poem\u003c/em>\u003c/p>\n\u003cp>\u003cem>revised for 37 weeks and 5 days\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poem with my exuberance\u003c/em>\u003c/p>\n\u003cp>\u003cem>wound helix around each curl\u003c/em>\u003c/p>\n\u003cp>\u003cem>l\u003c/em>\u003cem>aughing loud toward the sky\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poem with my resistance\u003c/em>\u003c/p>\n\u003cp>\u003cem>etched into a tiny furrowed brow\u003c/em>\u003c/p>\n\u003cp>\u003cem>i gave birth to a poem with my rage\u003c/em>\u003c/p>\n\u003cp>\u003cem>alchemized into a gilded voice\u003c/em>\u003c/p>\n\u003cp>\u003cem>never backing down\u003c/em>\u003c/p>\n\u003cp>\u003cem>never silent on command\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poem with my hope\u003c/em>\u003c/p>\n\u003cp>\u003cem>sewn carefully to its sternum\u003c/em>\u003c/p>\n\u003cp>\u003cem>a little patchwork yet certain all the same\u003c/em>\u003c/p>\n\u003cp>\u003cem>i gave birth to a poem\u003c/em>\u003c/p>\n\u003cp>\u003cem>that doesn’t know any words\u003c/em>\u003c/p>\n\u003cp>\u003cem>but synonyms for love and freedom\u003c/em>\u003c/p>\n\u003cp>\u003cem>a poem that careens down sidewalks\u003c/em>\u003c/p>\n\u003cp>\u003cem>ecstatic shrieks prayers laid at the highest altar\u003c/em>\u003c/p>\n\u003cp>\u003cem>this poem’s eyelids\u003c/em>\u003c/p>\n\u003cp>\u003cem>are lined with the silk of my faith\u003c/em>\u003c/p>\n\u003cp>\u003cem>this poem is invincible\u003c/em>\u003c/p>\n\u003cp>\u003cem>still, one day, though i gave birth to this poem\u003c/em>\u003c/p>\n\u003cp>\u003cem>this people’s poem\u003c/em>\u003c/p>\n\u003cp>\u003cem>i know someone will try to read her, anyway\u003c/em>\u003c/p>\n\u003cp>\u003cem>failing they will demand i translate\u003c/em>\u003c/p>\n\u003cp>\u003cem>but the poem i birthed\u003c/em>\u003c/p>\n\u003cp>\u003cem>was never meant for their understanding\u003c/em>\u003c/p>\n\u003cp>\u003cem>for between the lines of this poem’s lashes\u003c/em>\u003c/p>\n\u003cp>\u003cem>i placed a single dream:\u003c/em>\u003c/p>\n\u003cp>\u003cem>a future that is this poem’s\u003c/em>\u003c/p>\n\u003cp>\u003cem>and this poem’s alone\u003c/em>\u003c/p>\n\u003cp>\u003cem>to write\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13911723\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/Image-from-iOS-2-1020x1275.jpg\" alt=\"Meilani Clay\" width=\"640\" height=\"800\" class=\"size-large wp-image-13911723\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-1229x1536.jpg 1229w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-1638x2048.jpg 1638w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-1920x2400.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/Image-from-iOS-2-scaled.jpg 2048w\" sizes=\"(max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Oakland poet Meilani Clay, whose book ‘and the creek don’t rise’ was published in Dec. 2021. \u003ccite>(Meilani Clay)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Pendarvis Harshaw: What inspired this?\u003c/strong>\u003c/p>\n\u003cp>Meilani Clay: Early in the pandemic I was in the audience of a Zoom fundraiser for Marcus Books with some of the dopest poets (e.g. Chinaka Hodge, Danez Smith, so forth) and someone there—I feel so bad I can’t for the life of me remember this person’s name—talked about writing a poem about a concept or person, where instead of naming it, you say “this poem is/does/etc,” and then proceeded to share incredible examples.\u003c/p>\n\u003cp>I had been trying to successfully write a poem about my almost 3-year old (at the time) but they all came out hella corny or just not what I was trying to say. After hearing this poet, I was able to use that setup to craft the love letter to her I had been aching to write.\u003c/p>\n\u003cp>\u003cstrong>How did it feel to birth this poem?\u003c/strong>\u003c/p>\n\u003cp>It felt like a release! Much in the same way her actual birth felt, I let out this huge sigh of relief that I had managed to get her earthside safely.\u003c/p>\n\u003cp>\u003cstrong>You came up in Bay Area poetry circles (Youth Speaks). How does it feel being an adult doing this art in the Bay now? Any difference? \u003c/strong>\u003c/p>\n\u003cp>What’s interesting about my journey is that I haven’t been able to participate much in the adult poetry scene in the Bay. I came back home during a time in my life where I was really struggling to write, then that snowball of grad school, career, family took me even further from the work and I’ve been coming back into myself larger during this pandemic, where the human connection so vital to any of the arts has been missing.\u003c/p>\n\u003cp>All that to say, I feel new to this, even though I’m true to this. But I’ve been blessed to be connected to ridiculously smart and creative people who bring me into the fold. I’m on my way back.\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>More information about Meilani Clay’s recently published poetry book, \u003ca href=\"https://www.spdbooks.org/Products/9781889292823/and-the-creek-dont-rise.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>and the creek don’t rise\u003c/em>, can be found here\u003c/a>.\u003c/p>\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13910987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910987\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg\" alt=\"DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eing “outside” has grown into a term that signifies the amount of work put in, the battles you’ve survived and the love you’ve received. It’s a badge of honor.\u003c/p>\n\u003cp>When I think about people who’ve \u003cem>really been outside\u003c/em>, I think of folks who’ve turned human interaction into a lucrative business model and some sort of spiritual exchange. People like \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Last week, she hosted a birthday party for East Oakland lyricist \u003ca href=\"https://www.instagram.com/whoisallblack/\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK\u003c/a>. A few days prior, I saw her dancing in the booth while DJing an event with visual artist \u003ca href=\"https://www.instagram.com/yanory_norwood/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanory Norwood.\u003c/a> Last month I spotted her cutting up and spinning records with a bunch of fly sisters on the \u003ca href=\"https://www.instagram.com/tiptopshape_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tip Top Shape\u003c/a> float at the \u003ca href=\"https://www.instagram.com/blackjoyparade/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Joy Parade\u003c/a>.\u003c/p>\n\u003cp>And this Friday, March 25, ShellHeart DJs at the \u003ca href=\"https://www.instagram.com/turfinc/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Inc.\u003c/a>-hosted “Dance Your Style 2022” battle; she’s joined by \u003ca href=\"https://www.instagram.com/djladyryan/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Lady Ryan\u003c/a>, \u003ca href=\"https://www.instagram.com/djumami/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a>, \u003ca href=\"https://www.instagram.com/djredcorvette/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Red Corvette\u003c/a>, and \u003ca href=\"https://www.instagram.com/djmujie/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Mujie\u003c/a>.\u003c/p>\n\u003cp>As if that’s not enough, the next day, Saturday, March 26, Shell appears at the cannabis-themed brunch \u003ca href=\"https://www.eventbrite.com/e/welcome-to-the-blunch-tickets-269092662397\" target=\"_blank\" rel=\"noopener noreferrer\">Blunch\u003c/a>, organized and hosted by Oakland emcee and entrepreneur \u003ca href=\"https://www.instagram.com/p/CbY0hrILEue/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and her sister. And on Sunday, March 27, she’s at the \u003ca href=\"https://www.nba.com/warriors/news/warriors-announce-womens-empowerment-month-celebrations-20220307\" target=\"_blank\" rel=\"noopener noreferrer\">Thrive City Women’s Small Business Market\u003c/a> at the Chase Center, as part of the Golden State Warriors’ Women’s History Month festivities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I’m laying out her itinerary to show you that’s she’s not only outside—pardon me, \u003cem>been outside\u003c/em>—but that’s it’s clearly paying off.\u003c/p>\n\u003cfigure id=\"attachment_13910988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg\" alt=\"DJ ShellHeart in front of the 16th Street Station in West Oakland. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart in front of the 16th Street Station in West Oakland. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“I\u003c/span> been on the gas, OG Penn!” DJ ShellHeart tells me during a phone call last week, speaking in an audible smile as she runs down her current schedule, starting with her event series called \u003ca href=\"https://www.instagram.com/good_times_party/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Times\u003c/a>.\u003c/p>\n\u003cp>Every first Sunday, ShellHeart along with other DJs host the day party that’s simply about coming together to appreciate each other. “A lot of people don’t get their flowers,” Shell says, in a tone that’s a 180-degree difference from how the call started. “A lot of people from where I’m from don’t get flowers until somebody is dead.”\u003c/p>\n\u003cp>So, before the event, Shell buys eight bouquets and passes individual flowers out to people “during the lit hours.” Shell says, “I pass them out to everybody, man or woman. That’s one thing that has been big for me for 2022: making sure people get their flowers.”\u003c/p>\n\u003cp>As of this writing, they’ve only thrown a few Good Times events. But each one has brought out hundreds of attendees. Now, they’re even considering a larger venue.\u003c/p>\n\u003cfigure id=\"attachment_13910991\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png\" alt=\"DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine.\" width=\"600\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-160x182.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-768x873.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM.png 978w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine. \u003ccite>(@tiz_og)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two years the Bay Area has undergone some major nightlife shifts, but ShellHeart isn’t concerned. “It’s a lot of clubs that are closing,” says Shell. “But there are so many that are opening. And they’re willing to be open for the young DJs to throw parties.”\u003c/p>\n\u003cp>She credits \u003ca href=\"https://www.instagram.com/mrbadelle/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Brett Badelle\u003c/a>, owner of the \u003ca href=\"https://www.instagram.com/thegalleryartbar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gallery Art Bar\u003c/a>, as well as venues like \u003ca href=\"https://www.instagram.com/crybabyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">CryBaby Oakland\u003c/a>, \u003ca href=\"https://www.instagram.com/zanzioakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Zanzi\u003c/a>, \u003ca href=\"https://www.instagram.com/811parliament/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Parliament\u003c/a>, \u003ca href=\"https://www.instagram.com/halftimesportsbar/\" target=\"_blank\" rel=\"noopener noreferrer\">Halftime Sports Bar\u003c/a> and \u003ca href=\"https://www.instagram.com/m2oak/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">M2\u003c/a> as places where she can shine.\u003c/p>\n\u003cp>It’s a big difference from a few months ago, when her holiday DJ gig, Rexx Life Raj’s “Rexxmas,” was cancelled due to the fast-spreading Omicron COVID-19 variant–a wave that brought Shell back to the first shutdown in 2020.\u003c/p>\n\u003cp>“When the pandemic came, I felt like I lost everything. Well, I did. I didn’t have a booking in sight,” ShellHeart says, reminiscing on recent history. But that period gave her time to plan. “And now I’m doing it, and it’s amazing,” she adds, audibly smiling again.\u003c/p>\n\u003cp>Born in San Francisco and raised in South Richmond, ShellHeart, given name Michelle Miller, is truly from the soil. She attended school in Berkeley, and church in Vallejo. But it was her time spent in Sacramento that set her on her path.\u003c/p>\n\u003cp>After relocating to the 916 for a job at Sacramento Children’s Receiving Home in 2014, she decided to fill her idle time with a new hobby. So she purchased a mini DJ controller that she could attach to an iPad. It wasn’t her first rodeo: when she was in high school, her dad gave her some turntables, but it didn’t stick—Shell was too focused on running track.\u003c/p>\n\u003cp>A little older and a little deeper into music, it was time. She got connected with Sacramento’s \u003ca href=\"https://www.instagram.com/djmelimel_/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Meli Mel\u003c/a>, who gave Shell a real controller, a Numark NS7. “It was hella heavy!” Shell exclaims. “But I was like, ‘\u003cem>This\u003c/em> \u003cem>is what I want to do\u003c/em>.'”\u003c/p>\n\u003cp>So she did.\u003c/p>\n\u003cfigure id=\"attachment_13910984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910984\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_0389-800x533.jpg\" alt=\"RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ack home in Richmond, an artist by the name of \u003ca href=\"https://www.instagram.com/rbcbugzy/\" target=\"_blank\" rel=\"noopener noreferrer\">RBC Bugzy\u003c/a> was on the rise, having released his first mixtape, \u003ca href=\"https://www.thizzler.com/blog/2014/12/16/rbc-bugzy-richmen-mixtape.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Richmen\u003c/em>\u003c/a>. After a year in Sacramento, ShellHeart moved back to the Bay, living in Vallejo. That’s when she and Bugzy connected. “And we just kicked it off,” says Shell, matter-of-factly. “We already knew each other because we were both from Richmond, but once I became his DJ, we became a lot closer. That actually kicked off my DJ career.”\u003c/p>\n\u003cp>Bugzy was a goofy dude, Shell tells me. A happy family man who loved hard. They’d exchange early morning phone calls to check in, and often ride out together, driving around the Bay selling Bugzy’s RICHMEN line of shirts out of his trunk while playing his music and seeing people in traffic.\u003c/p>\n\u003cp>Bugzy was shot and killed in Georgia in late 2019, along with Atlanta’s \u003ca href=\"https://www.hip-hopvibe.com/news/rip-tuc-dolla-and-rbc-bugzy-twitter-mourns-the-loss-of-atl-figure-tucdolla-and-rapper-rbc-bugzy-who-were-killed-last-night-bugzy-was-the-brother-of-cj-anderson-of-the-denver-broncos/\" target=\"_blank\" rel=\"noopener noreferrer\">Tuc Dolla\u003c/a>. After his death, Bugzy’s brother, the retired NFL running back and current college coach \u003ca href=\"https://twitter.com/cjandersonb22/status/1212096306933579776\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Anderson\u003c/a>, made it clear that Bugzy was a stage name: “His name was Bryon Edwards,” he tweeted. “Today we lost my brother Bryon Edwards.” He was a real person who was taken from this world too soon, leaving behind family, friends, and fans.\u003c/p>\n\u003cp>Plenty of photos exist of ShellHeart performing in a baseball cap with “Bugzy” embroidered on the side. But the image that really speaks to their connection is one she keeps at the crib. “I have this picture of [Bugzy] and my mom in my room, and I look at it every morning,” Shell says, once again in a tone absent of a smile. “When I go outside, it’s for him, it’s for them.”\u003c/p>\n\u003cfigure id=\"attachment_13910985\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_1036-800x533.jpg\" alt=\"DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen she’s outside, it’s not just in the Bay; in 2018, ShellHeart began touring as Rexx Life Raj’s DJ across the United States and Europe, hitting London, Paris, Berlin, Copenhagen and beyond.\u003c/p>\n\u003cp>Shell and Raj have known each other since their days at Berkeley High, back when Raj was a part of a group called the Goon Squad. “Me and Raj been connected, that’s what a lot of people don’t know,” Shell says, audible smile present again. “That’s really my friend. So, he just made me his DJ. And man, we been killing it… He changed my life, for real. He and Bugzy changed my life.”\u003c/p>\n\u003cp>Now, she’s at a point where she can support herself by doing what she loves. On any given night, you might catch her Milly Rocking in the DJ booth while giving shoutouts over the club’s sound system. She has events lined up for the summer. She released a line of hats last fall and has more clothing dropping in the coming months. That’s in addition to throwing parties, hosting events, going on tour again and possibly putting out her own music with some well-known Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13910986\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg\" alt=\"DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-scaled.jpeg 1708w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been a long journey from when she started, back when she was hitting events and shaking people’s hands, hoping to get to know them and to make sure they got to know her.\u003c/p>\n\u003cp>Aside from DJ Backside and the late Pam The Funkstress, ShellHeart says that in those early days of DJing, she didn’t see many women behind the boards.\u003c/p>\n\u003cp>“And being a gay female, it felt like a lot of people didn’t know how to approach me,” Shell explains. “I’d get a lot of brushed-off shoulders. But I made sure to go shake those hands: I don’t know you, you don’t know me, but imma make sure you remember me.”\u003c/p>\n\u003cp>When asked what it feels like to have this kind of momentum, DJ ShellHeart answers with a rhetorical question of her own: “Why am I outside on a fucking Monday?” she laughs.\u003c/p>\n\u003cp>“It trips me out: \u003cem>Damn, I’m outside again?\u003c/em>” she says. “But this is my job. This is my career.”\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>Keep up with DJ ShellHeart on her \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a> and learn more at her \u003ca href=\"https://www.djshellheart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The Richmond-raised DJ for Rexx Life Raj and the late RBC Bugzy is all gas, ensuring people get their flowers.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13910987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910987\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg\" alt=\"DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1797-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart wears sunglasses as she poses next to a huge car rim of a classic car. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>eing “outside” has grown into a term that signifies the amount of work put in, the battles you’ve survived and the love you’ve received. It’s a badge of honor.\u003c/p>\n\u003cp>When I think about people who’ve \u003cem>really been outside\u003c/em>, I think of folks who’ve turned human interaction into a lucrative business model and some sort of spiritual exchange. People like \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ ShellHeart\u003c/a>.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">Last week, she hosted a birthday party for East Oakland lyricist \u003ca href=\"https://www.instagram.com/whoisallblack/\" target=\"_blank\" rel=\"noopener noreferrer\">ALLBLACK\u003c/a>. A few days prior, I saw her dancing in the booth while DJing an event with visual artist \u003ca href=\"https://www.instagram.com/yanory_norwood/\" target=\"_blank\" rel=\"noopener noreferrer\">Yanory Norwood.\u003c/a> Last month I spotted her cutting up and spinning records with a bunch of fly sisters on the \u003ca href=\"https://www.instagram.com/tiptopshape_/\" target=\"_blank\" rel=\"noopener noreferrer\">Tip Top Shape\u003c/a> float at the \u003ca href=\"https://www.instagram.com/blackjoyparade/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Joy Parade\u003c/a>.\u003c/p>\n\u003cp>And this Friday, March 25, ShellHeart DJs at the \u003ca href=\"https://www.instagram.com/turfinc/\" target=\"_blank\" rel=\"noopener noreferrer\">Turf Inc.\u003c/a>-hosted “Dance Your Style 2022” battle; she’s joined by \u003ca href=\"https://www.instagram.com/djladyryan/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Lady Ryan\u003c/a>, \u003ca href=\"https://www.instagram.com/djumami/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Umami\u003c/a>, \u003ca href=\"https://www.instagram.com/djredcorvette/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Red Corvette\u003c/a>, and \u003ca href=\"https://www.instagram.com/djmujie/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Mujie\u003c/a>.\u003c/p>\n\u003cp>As if that’s not enough, the next day, Saturday, March 26, Shell appears at the cannabis-themed brunch \u003ca href=\"https://www.eventbrite.com/e/welcome-to-the-blunch-tickets-269092662397\" target=\"_blank\" rel=\"noopener noreferrer\">Blunch\u003c/a>, organized and hosted by Oakland emcee and entrepreneur \u003ca href=\"https://www.instagram.com/p/CbY0hrILEue/\" target=\"_blank\" rel=\"noopener noreferrer\">Ally Cocaine\u003c/a> and her sister. And on Sunday, March 27, she’s at the \u003ca href=\"https://www.nba.com/warriors/news/warriors-announce-womens-empowerment-month-celebrations-20220307\" target=\"_blank\" rel=\"noopener noreferrer\">Thrive City Women’s Small Business Market\u003c/a> at the Chase Center, as part of the Golden State Warriors’ Women’s History Month festivities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m laying out her itinerary to show you that’s she’s not only outside—pardon me, \u003cem>been outside\u003c/em>—but that’s it’s clearly paying off.\u003c/p>\n\u003cfigure id=\"attachment_13910988\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910988\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg\" alt=\"DJ ShellHeart in front of the 16th Street Station in West Oakland. \" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1020x1020.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-800x800.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-768x768.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1536x1536.jpeg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-2048x2048.jpeg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/DSCF1803-1920x1920.jpeg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart in front of the 16th Street Station in West Oakland. \u003ccite>(@mattsdemise)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“I\u003c/span> been on the gas, OG Penn!” DJ ShellHeart tells me during a phone call last week, speaking in an audible smile as she runs down her current schedule, starting with her event series called \u003ca href=\"https://www.instagram.com/good_times_party/\" target=\"_blank\" rel=\"noopener noreferrer\">Good Times\u003c/a>.\u003c/p>\n\u003cp>Every first Sunday, ShellHeart along with other DJs host the day party that’s simply about coming together to appreciate each other. “A lot of people don’t get their flowers,” Shell says, in a tone that’s a 180-degree difference from how the call started. “A lot of people from where I’m from don’t get flowers until somebody is dead.”\u003c/p>\n\u003cp>So, before the event, Shell buys eight bouquets and passes individual flowers out to people “during the lit hours.” Shell says, “I pass them out to everybody, man or woman. That’s one thing that has been big for me for 2022: making sure people get their flowers.”\u003c/p>\n\u003cp>As of this writing, they’ve only thrown a few Good Times events. But each one has brought out hundreds of attendees. Now, they’re even considering a larger venue.\u003c/p>\n\u003cfigure id=\"attachment_13910991\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910991\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png\" alt=\"DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine.\" width=\"600\" height=\"683\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-800x910.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-160x182.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM-768x873.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-24-at-1.25.44-AM.png 978w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart holds a bouquet of flowers as she embraces rapper and entrepreneur Ally Cocaine. \u003ccite>(@tiz_og)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Over the past two years the Bay Area has undergone some major nightlife shifts, but ShellHeart isn’t concerned. “It’s a lot of clubs that are closing,” says Shell. “But there are so many that are opening. And they’re willing to be open for the young DJs to throw parties.”\u003c/p>\n\u003cp>She credits \u003ca href=\"https://www.instagram.com/mrbadelle/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Brett Badelle\u003c/a>, owner of the \u003ca href=\"https://www.instagram.com/thegalleryartbar/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Gallery Art Bar\u003c/a>, as well as venues like \u003ca href=\"https://www.instagram.com/crybabyoakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">CryBaby Oakland\u003c/a>, \u003ca href=\"https://www.instagram.com/zanzioakland/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Zanzi\u003c/a>, \u003ca href=\"https://www.instagram.com/811parliament/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Parliament\u003c/a>, \u003ca href=\"https://www.instagram.com/halftimesportsbar/\" target=\"_blank\" rel=\"noopener noreferrer\">Halftime Sports Bar\u003c/a> and \u003ca href=\"https://www.instagram.com/m2oak/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">M2\u003c/a> as places where she can shine.\u003c/p>\n\u003cp>It’s a big difference from a few months ago, when her holiday DJ gig, Rexx Life Raj’s “Rexxmas,” was cancelled due to the fast-spreading Omicron COVID-19 variant–a wave that brought Shell back to the first shutdown in 2020.\u003c/p>\n\u003cp>“When the pandemic came, I felt like I lost everything. Well, I did. I didn’t have a booking in sight,” ShellHeart says, reminiscing on recent history. But that period gave her time to plan. “And now I’m doing it, and it’s amazing,” she adds, audibly smiling again.\u003c/p>\n\u003cp>Born in San Francisco and raised in South Richmond, ShellHeart, given name Michelle Miller, is truly from the soil. She attended school in Berkeley, and church in Vallejo. But it was her time spent in Sacramento that set her on her path.\u003c/p>\n\u003cp>After relocating to the 916 for a job at Sacramento Children’s Receiving Home in 2014, she decided to fill her idle time with a new hobby. So she purchased a mini DJ controller that she could attach to an iPad. It wasn’t her first rodeo: when she was in high school, her dad gave her some turntables, but it didn’t stick—Shell was too focused on running track.\u003c/p>\n\u003cp>A little older and a little deeper into music, it was time. She got connected with Sacramento’s \u003ca href=\"https://www.instagram.com/djmelimel_/\" target=\"_blank\" rel=\"noopener noreferrer\">DJ Meli Mel\u003c/a>, who gave Shell a real controller, a Numark NS7. “It was hella heavy!” Shell exclaims. “But I was like, ‘\u003cem>This\u003c/em> \u003cem>is what I want to do\u003c/em>.'”\u003c/p>\n\u003cp>So she did.\u003c/p>\n\u003cfigure id=\"attachment_13910984\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910984\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_0389-800x533.jpg\" alt=\"RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_0389-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">RBC Bugzy and DJ ShellHeart pose for a photo in 2018 in Oakland. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ack home in Richmond, an artist by the name of \u003ca href=\"https://www.instagram.com/rbcbugzy/\" target=\"_blank\" rel=\"noopener noreferrer\">RBC Bugzy\u003c/a> was on the rise, having released his first mixtape, \u003ca href=\"https://www.thizzler.com/blog/2014/12/16/rbc-bugzy-richmen-mixtape.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Richmen\u003c/em>\u003c/a>. After a year in Sacramento, ShellHeart moved back to the Bay, living in Vallejo. That’s when she and Bugzy connected. “And we just kicked it off,” says Shell, matter-of-factly. “We already knew each other because we were both from Richmond, but once I became his DJ, we became a lot closer. That actually kicked off my DJ career.”\u003c/p>\n\u003cp>Bugzy was a goofy dude, Shell tells me. A happy family man who loved hard. They’d exchange early morning phone calls to check in, and often ride out together, driving around the Bay selling Bugzy’s RICHMEN line of shirts out of his trunk while playing his music and seeing people in traffic.\u003c/p>\n\u003cp>Bugzy was shot and killed in Georgia in late 2019, along with Atlanta’s \u003ca href=\"https://www.hip-hopvibe.com/news/rip-tuc-dolla-and-rbc-bugzy-twitter-mourns-the-loss-of-atl-figure-tucdolla-and-rapper-rbc-bugzy-who-were-killed-last-night-bugzy-was-the-brother-of-cj-anderson-of-the-denver-broncos/\" target=\"_blank\" rel=\"noopener noreferrer\">Tuc Dolla\u003c/a>. After his death, Bugzy’s brother, the retired NFL running back and current college coach \u003ca href=\"https://twitter.com/cjandersonb22/status/1212096306933579776\" target=\"_blank\" rel=\"noopener noreferrer\">C.J. Anderson\u003c/a>, made it clear that Bugzy was a stage name: “His name was Bryon Edwards,” he tweeted. “Today we lost my brother Bryon Edwards.” He was a real person who was taken from this world too soon, leaving behind family, friends, and fans.\u003c/p>\n\u003cp>Plenty of photos exist of ShellHeart performing in a baseball cap with “Bugzy” embroidered on the side. But the image that really speaks to their connection is one she keeps at the crib. “I have this picture of [Bugzy] and my mom in my room, and I look at it every morning,” Shell says, once again in a tone absent of a smile. “When I go outside, it’s for him, it’s for them.”\u003c/p>\n\u003cfigure id=\"attachment_13910985\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910985\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_1036-800x533.jpg\" alt=\"DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_1036.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart and Rexx Life Raj are caught off guard ahead of a performance in Los Angeles. \u003ccite>(Marco Alexander)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">W\u003c/span>hen she’s outside, it’s not just in the Bay; in 2018, ShellHeart began touring as Rexx Life Raj’s DJ across the United States and Europe, hitting London, Paris, Berlin, Copenhagen and beyond.\u003c/p>\n\u003cp>Shell and Raj have known each other since their days at Berkeley High, back when Raj was a part of a group called the Goon Squad. “Me and Raj been connected, that’s what a lot of people don’t know,” Shell says, audible smile present again. “That’s really my friend. So, he just made me his DJ. And man, we been killing it… He changed my life, for real. He and Bugzy changed my life.”\u003c/p>\n\u003cp>Now, she’s at a point where she can support herself by doing what she loves. On any given night, you might catch her Milly Rocking in the DJ booth while giving shoutouts over the club’s sound system. She has events lined up for the summer. She released a line of hats last fall and has more clothing dropping in the coming months. That’s in addition to throwing parties, hosting events, going on tour again and possibly putting out her own music with some well-known Bay Area artists.\u003c/p>\n\u003cfigure id=\"attachment_13910986\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13910986\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg\" alt=\"DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium.\" width=\"640\" height=\"959\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1020x1529.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-800x1199.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-160x240.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-768x1151.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1025x1536.jpeg 1025w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1366x2048.jpeg 1366w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-1920x2879.jpeg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/IMG_9137-scaled.jpeg 1708w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">DJ ShellHeart doing her thing on tour with Russ at a the Sacramento Memorial Auditorium. \u003ccite>(Courtesy DJ ShellHeart)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s been a long journey from when she started, back when she was hitting events and shaking people’s hands, hoping to get to know them and to make sure they got to know her.\u003c/p>\n\u003cp>Aside from DJ Backside and the late Pam The Funkstress, ShellHeart says that in those early days of DJing, she didn’t see many women behind the boards.\u003c/p>\n\u003cp>“And being a gay female, it felt like a lot of people didn’t know how to approach me,” Shell explains. “I’d get a lot of brushed-off shoulders. But I made sure to go shake those hands: I don’t know you, you don’t know me, but imma make sure you remember me.”\u003c/p>\n\u003cp>When asked what it feels like to have this kind of momentum, DJ ShellHeart answers with a rhetorical question of her own: “Why am I outside on a fucking Monday?” she laughs.\u003c/p>\n\u003cp>“It trips me out: \u003cem>Damn, I’m outside again?\u003c/em>” she says. “But this is my job. This is my career.”\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>Keep up with DJ ShellHeart on her \u003ca href=\"https://www.instagram.com/djshellheart/\" target=\"_blank\" rel=\"noopener noreferrer\">on Instagram\u003c/a> and learn more at her \u003ca href=\"https://www.djshellheart.com/\" target=\"_blank\" rel=\"noopener noreferrer\">website\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why I Love Hawaiian BBQ: In Praise of One of the Bay's Great Multicultural Cuisines",
"headTitle": "Why I Love Hawaiian BBQ: In Praise of One of the Bay’s Great Multicultural Cuisines | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]F[/dropcap]or most of two decades, I grew up in a single-parent home in the South Bay with a Mexican immigrant father. I remember that our first apartment complex was surrounded by Vietnamese and Chinese immigrants, many of whom didn’t speak English. Still, we all learned how to communicate and mix our customs, spending time in each other’s homes and eating each other’s food. For me and my brother, that meant an extra dose of potstickers and noodles as kids. Our world opened up beyond the tortas, bistec, and quesadillas my dad would often make for dinner, and as I grew older, I understood what it meant to constantly translate cultures through taste.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In our neighborhood, we had access to everything from Round Table Pizza and Kentucky Fried Chicken to Middle Eastern rotisserie and German hofbrauhaus. But as a first-generation Mexican American with all of these options, there was one plate I grew to relish more than any other: Hawaiian barbecue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The “plate lunch” combo was my favorite, no matter where I got it. It always arrived in a steamy container with a creamy scoop of macaroni salad, a lump of sticky white rice, and strips of grilled chicken on a bed of greens—all for a relatively affordable price. Occasionally, I’d mix it up with some breaded katsu for the extra crunch, or order two scoops of mac instead of rice. A can of sinfully sweet Hawaiian Sun completed the meal. I never questioned the origins of the dish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But eventually I wondered: Did this really come from Hawaii? And how did it get to become such a popular meal for Northern Californians? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What I’ve come to understand is that…it’s complicated. There’s a distinction between “Hawaiian-style” foods and foods that are part of the “true,” original Hawaiian diet, such as fish, poi (a mash of starchy vegetables like taro or plantain) and certain fruits that are native to the islands. The rest has been modified over years of migration, colonialism and interchange.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Spam musubi? A mix of Japanese sushi and U.S. infantry rations from World War II. Loco moco? A mash-up of Spaniard-introduced beef, British gravy and Chinese rice that a group of young cooks tossed into a bowl at a diner in Hilo, Hawaii, in 1949. (One of the teens, \u003c/span>\u003ca href=\"https://www.eastbaytimes.com/2018/11/30/loco-moco-hawaiis-iconic-dish-has-roots-in-the-east-bay/\">\u003cspan style=\"font-weight: 400\">George Takahashi, later migrated to San Leandro\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.) “Hawaiian pizza”? Don’t even think about it. Even the ukulele was brought over by the Portuguese, along with their sausages, oils and batters—key contributions that led to Hawaii’s eventual boom in fried treats like poi doughnuts.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911077\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/hawaiianbbq_ilava-scaled.jpg\" alt='iLava Hawaiian Barbecue owner Nicolle Jacinto makes a \"hang loose\" hand gesture in front of an ocean mural inside her East Oakland restaurant.' width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Jacinto fell in love with barbecuing in her native Philippines. Now, she runs a Hawaiian barbecue spot in a Latino strip mall in East Oakland. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fusion in an Unlikely Place\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story of Hawaiian barbecue isn’t a story about the sanctity of the purest Hawaiian foods. Instead, it’s a celebration of what it means to be from many places at once, of having mixed upbringings, of melting together a multitude of deliciously imperfect cultural elements and serving them in a Styrofoam to-go box. Most importantly, it’s about finding and tasting that fusion in the most unlikely places—like a Central American strip mall in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hawaiian food isn’t just 100% Hawaiian food, especially in the Bay Area,” says Nicolle Jacinto, owner of \u003c/span>\u003ca href=\"https://www.ilavahawaiianbbq.com/\">\u003cspan style=\"font-weight: 400\">iLava Hawaiian Barbecue\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which sits in the aforementioned strip mall. “It’s a mix of many cultures. There’s a fusion and variety of ethnicities here, and since we all eat different foods, Hawaiian has been able to become so popular.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant is located on a metaphorical island on High Street and International Boulevard. It’s a barely noticeable independent shop surrounded by taco trucks, mega-mercados, lavanderías, pawn shops, armed security guards and fast food joints. Yet right in the heart of this predominantly Latino epicenter, you’ll find this tropically inspired restaurant, serving classic plates of island-style food to a diverse clientele of Spanish-speaking immigrants, high-schoolers and other non-Hawaiians.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“The story of Hawaiian barbecue isn’t a story about the sanctity of the purest Hawaiian foods. Instead, it’s a celebration of what it means to be from many places at once.”[/pullquote]Jacinto opened the business in 2017, when her former employer at Hawaiian Grill Express in San Lorenzo asked if she would be interested in running her own restaurant as a part-owner. Since then, Jacinto has overseen iLava’s success, expanding into catering services and a food truck that circulates the entire Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The business serves classic Hawaiian-style plate lunches that feature dishes like barbecue chicken, beef and short ribs, kalua pork, lau lau and garlic shrimp. There’s also a menu of fresh tropical smoothies like the “Hawaiian Sunrise,” a tangy blend of passionfruit and mango. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The one \u003c/span>\u003ca href=\"https://www.yelp.com/biz/ilava-hawaiian-barbecue-oakland-4\">\u003cspan style=\"font-weight: 400\">Yelp\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> reviewer who says iLava is “not a true authentic Hawaiian place” because they don’t serve poi seems to miss the point about what the restaurant does do well: a Californicated version of Pacific Island sustenance, served at reasonable prices, in a part of the city that otherwise lacks any major Polynesian presence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In many ways, Hawaiian culinary history seems to be just that—a whirlpool of various, inexplicably linked ingredients from miscellaneous sources that can be cooked on the spot for anyone who’s hungry. Jacinto embodies this fusion in her own journey. After immigrating to the East Bay from the Philippines in 2009, Jacinto missed the flavors of her past. Though she isn’t Hawaiian by birth, many of her Filipino family members migrated to Hawaii in the 1990s. During yearly trips to the islands, she learned about the nuanced varieties of regional foods while helping her mother cook for relatives. According to Jacinto, the parallels between Hawaiians and Filipinos are unmistakable, highlighted by “a great sense of hospitality, an appreciation for tropical weather and a love of grilled meat.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My favorite Hawaiian dish is kalua pork,” she tells me. “It’s slow roasted, and it’s basically lechón in the Philippines. It’s prepared slightly differently—lechón is crispier—but it’s almost the same.” (A Latina employee at iLava excitedly compared the dish to carnitas.) Filipino ube (mashed purple yam) has a distinct purple hue, just like Hawaiian poi.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From a young age, Jacinto would cook skewered meats in the streets of her native country, grilling them over open flames and selling them to neighbors and passersby on their way to work. It was relatively inexpensive and convenient, she explains, to prepare food in this fashion. That’s where she gained an appreciation for barbecuing.\u003c/span>\u003c/p>\n\u003ch2>A Bay Area Classic\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Of course, Hawaiian food is much more than grilled meats. But that particular style, commonly known as “Hawaiian BBQ,” is the one that’s the most widely available here in the Bay Area—especially the classic style of meal known as the plate lunch. Born from \u003c/span>\u003ca href=\"https://hawaiioceanproject.com/a-brief-history-of-plate-lunches-in-hawaii/\">\u003cspan style=\"font-weight: 400\">a working-class context of mixed leftover foods—\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">scraps from previous night’s meals consisting of rice, macaroni and a protein, heaped in a to-go bento box—the plate lunch has become an indisputable California favorite. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911080\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/patricklandeza_poke-scaled.jpg\" alt=\"Patrick Landeza mixes poke inside a large metal bowl..\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Landeza, a Hawaiian cook and musician based in Hayward, specializes in poke. But he appreciates the way Hawaiian barbecue spots make the culture more accessible to the mainstream. \u003ccite>(Courtesy of Patrick Landeza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A plate lunch is just a mixture of things. We’re talking about Japanese, Korean, Hawaiian and more. We’re here in the Bay Area, and this is our taste profile, so that’s why it’s popping up everywhere,” says Patrick Landeza, a Hawaiian cook and musician who owns \u003c/span>\u003ca href=\"https://landezasisland.com/\">\u003cspan style=\"font-weight: 400\">Landeza’s Island Poke & Catering\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Hayward, and is a member of the \u003c/span>\u003ca href=\"https://hccnc.org/\">\u003cspan style=\"font-weight: 400\">Hawai’i Chamber of Commerce in Northern California\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though Landeza believes most Hawaiian barbecue outlets lack “true aloha,” or a sense of soul and genuine service, he also admits that they are good at “doing what they do by serving comfort food.” Raised on the “island of Berkeley,” Landeza specializes in poke—bowls of diced raw fish and other ingredients—which is a certified Hawaiian staple. As a Bay Area Hawaiian OG, he acknowledges the importance and accessibility of mainstream Hawaiian barbecue among the non-Hawaiian population.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The cuisine’s origins on the mainland date back to 1999 when Johnson Kam and Eddie Flores, Jr. opened their \u003c/span>\u003ca href=\"http://archives.starbulletin.com/1999/11/26/business/story1.html\">\u003cspan style=\"font-weight: 400\">first L&L Hawaiian BBQ outside of Hawaii\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. This was already three decades after the pair had successfully launched the original L&L Drive-In in 1976, in the Kalihi neighborhood of Oahu.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Their brand of quick, simple Hawaiian fare reached California’s shores when \u003c/span>\u003ca href=\"http://archives.starbulletin.com/1999/11/26/business/story1.html\">\u003cspan style=\"font-weight: 400\">a former employee relocated to San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and began to serve his own Hawaiian-style plate lunches as a side hustle, Landeza explains. That initial success eventually led to the commercialization of Hawaiian food services that have since proliferated under the L&L brand name. Nowadays, the chain boasts over 200 locations throughout the United States, including a recent opening of their first franchise as far east as Florida. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like the plate lunches they serve, L&L’s take on \u003c/span>\u003ca href=\"https://www.hawaiianbarbecue.com/about/\">\u003cspan style=\"font-weight: 400\">“the state food of Hawaii”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a fusion of past traditions with modern business opportunities. They were able to offer ownership to anyone willing to invest in their franchise model—whether Hawaiian-heritaged or not. A wave of shops selling what we now know as “Hawaiian BBQ” emerged as a result, often owned by immigrants like Jacinto.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote size=\"large\" align=\"right\"]“Eating a Filipino-prepared Hawaiian plate lunch in Oakland served by Latino employees represents the beauty of what food can teach us about our human similarities.”[/pullquote]There are other reasons \u003c/span>\u003ca href=\"https://sf.eater.com/2019/1/28/18178937/hawaiian-food-trend-san-francisco-bay-area\">\u003cspan style=\"font-weight: 400\">Hawaiian food has reached trending status in the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. For starters, \u003c/span>\u003ca href=\"https://www.sfgate.com/news/article/Bay-Area-has-big-Pacific-Islander-population-2839970.php\">\u003cspan style=\"font-weight: 400\">the region is home to the largest population of Polynesian islanders\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> who’ve transplanted to the contiguous stateside, making this the world’s biggest Little Island, with the cities of Hayward and Vallejo boasting the most Hawaiian residents. This proximity for cultural exchange largely explains why so many Americanized Polynesian trends have been popularized in the Bay, including tiki bars and \u003c/span>\u003ca href=\"https://www.curacaoliqueur.com/articles/the-mai-tai-history-and-its-recipes-explained\">\u003cspan style=\"font-weight: 400\">the disputed origins of the mai tai cocktail\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For many, these can come across as a form of \u003c/span>\u003ca href=\"https://www.latimes.com/food/story/2019-11-27/tiki-bar-problems\">\u003cspan style=\"font-weight: 400\">cultural appropriation and “colonial nostalgia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” I’ve seen the same exotic simplification happen with Mexican food—it’s tricky territory to mindlessly enjoy a tiki beverage or “Aloha burger” without considering the layers beneath the surface. On the one hand, it represents some attempt to offer the flavors and experiences of a region. But when done poorly, it comes off as kitschy, tone-deaf and imperialistically exploitative. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the case of iLava, though, eating a Filipino-prepared Hawaiian plate lunch in Oakland served by Latino employees represents the beauty of what food can teach us about our human similarities.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside postID='arts_13900855,arts_13898436,arts_13904835']“Food is a vehicle for building community, creating and nurturing that community,” says Landeza. “I don’t do Hawaiian barbecue. I am a Hawaiian caterer who does Hawaiian food. But coming from the mainland with Hawaiian roots, we miss these foods because we identify with it, and we want to relive that however we can. I’ve lived in both worlds, and there is a way to share that aloha, through food and music.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whatever your personal preferences may be, I can only speak for mine: I’ll take a Hawaiian-style barbecue plate lunch any day of the week. There’s just something refreshingly simple about it, and it reminds me of how we’re all a mixture of histories that are outside of anyone’s control or simple definitions. In a way, this mishmash is the only thing I know. It’s a place of comfort for me as the child of immigrants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jacinto, an immigrant herself, feels similarly. “Hawaii reminds me of my home—the warmth, the green, the beaches,” she says. “It’s the closest where I can feel like I’m home.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who can’t stomach that?\u003c/span>\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>iLava Hawaiian Barbecue is open 11 am–8:15 pm daily at 1446 High St. in Oakland.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">F\u003c/span>\u003c/p>\u003cp>or most of two decades, I grew up in a single-parent home in the South Bay with a Mexican immigrant father. I remember that our first apartment complex was surrounded by Vietnamese and Chinese immigrants, many of whom didn’t speak English. Still, we all learned how to communicate and mix our customs, spending time in each other’s homes and eating each other’s food. For me and my brother, that meant an extra dose of potstickers and noodles as kids. Our world opened up beyond the tortas, bistec, and quesadillas my dad would often make for dinner, and as I grew older, I understood what it meant to constantly translate cultures through taste.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In our neighborhood, we had access to everything from Round Table Pizza and Kentucky Fried Chicken to Middle Eastern rotisserie and German hofbrauhaus. But as a first-generation Mexican American with all of these options, there was one plate I grew to relish more than any other: Hawaiian barbecue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The “plate lunch” combo was my favorite, no matter where I got it. It always arrived in a steamy container with a creamy scoop of macaroni salad, a lump of sticky white rice, and strips of grilled chicken on a bed of greens—all for a relatively affordable price. Occasionally, I’d mix it up with some breaded katsu for the extra crunch, or order two scoops of mac instead of rice. A can of sinfully sweet Hawaiian Sun completed the meal. I never questioned the origins of the dish.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But eventually I wondered: Did this really come from Hawaii? And how did it get to become such a popular meal for Northern Californians? \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What I’ve come to understand is that…it’s complicated. There’s a distinction between “Hawaiian-style” foods and foods that are part of the “true,” original Hawaiian diet, such as fish, poi (a mash of starchy vegetables like taro or plantain) and certain fruits that are native to the islands. The rest has been modified over years of migration, colonialism and interchange.\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\">Spam musubi? A mix of Japanese sushi and U.S. infantry rations from World War II. Loco moco? A mash-up of Spaniard-introduced beef, British gravy and Chinese rice that a group of young cooks tossed into a bowl at a diner in Hilo, Hawaii, in 1949. (One of the teens, \u003c/span>\u003ca href=\"https://www.eastbaytimes.com/2018/11/30/loco-moco-hawaiis-iconic-dish-has-roots-in-the-east-bay/\">\u003cspan style=\"font-weight: 400\">George Takahashi, later migrated to San Leandro\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.) “Hawaiian pizza”? Don’t even think about it. Even the ukulele was brought over by the Portuguese, along with their sausages, oils and batters—key contributions that led to Hawaii’s eventual boom in fried treats like poi doughnuts.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911077\" class=\"wp-caption alignnone\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911077\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/hawaiianbbq_ilava-scaled.jpg\" alt='iLava Hawaiian Barbecue owner Nicolle Jacinto makes a \"hang loose\" hand gesture in front of an ocean mural inside her East Oakland restaurant.' width=\"2560\" height=\"1440\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-1536x864.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-2048x1152.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/hawaiianbbq_ilava-1920x1080.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Nicole Jacinto fell in love with barbecuing in her native Philippines. Now, she runs a Hawaiian barbecue spot in a Latino strip mall in East Oakland. \u003ccite>(Alan Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Fusion in an Unlikely Place\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">The story of Hawaiian barbecue isn’t a story about the sanctity of the purest Hawaiian foods. Instead, it’s a celebration of what it means to be from many places at once, of having mixed upbringings, of melting together a multitude of deliciously imperfect cultural elements and serving them in a Styrofoam to-go box. Most importantly, it’s about finding and tasting that fusion in the most unlikely places—like a Central American strip mall in East Oakland.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hawaiian food isn’t just 100% Hawaiian food, especially in the Bay Area,” says Nicolle Jacinto, owner of \u003c/span>\u003ca href=\"https://www.ilavahawaiianbbq.com/\">\u003cspan style=\"font-weight: 400\">iLava Hawaiian Barbecue\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, which sits in the aforementioned strip mall. “It’s a mix of many cultures. There’s a fusion and variety of ethnicities here, and since we all eat different foods, Hawaiian has been able to become so popular.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant is located on a metaphorical island on High Street and International Boulevard. It’s a barely noticeable independent shop surrounded by taco trucks, mega-mercados, lavanderías, pawn shops, armed security guards and fast food joints. Yet right in the heart of this predominantly Latino epicenter, you’ll find this tropically inspired restaurant, serving classic plates of island-style food to a diverse clientele of Spanish-speaking immigrants, high-schoolers and other non-Hawaiians.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“The story of Hawaiian barbecue isn’t a story about the sanctity of the purest Hawaiian foods. Instead, it’s a celebration of what it means to be from many places at once.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jacinto opened the business in 2017, when her former employer at Hawaiian Grill Express in San Lorenzo asked if she would be interested in running her own restaurant as a part-owner. Since then, Jacinto has overseen iLava’s success, expanding into catering services and a food truck that circulates the entire Bay Area.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The business serves classic Hawaiian-style plate lunches that feature dishes like barbecue chicken, beef and short ribs, kalua pork, lau lau and garlic shrimp. There’s also a menu of fresh tropical smoothies like the “Hawaiian Sunrise,” a tangy blend of passionfruit and mango. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The one \u003c/span>\u003ca href=\"https://www.yelp.com/biz/ilava-hawaiian-barbecue-oakland-4\">\u003cspan style=\"font-weight: 400\">Yelp\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> reviewer who says iLava is “not a true authentic Hawaiian place” because they don’t serve poi seems to miss the point about what the restaurant does do well: a Californicated version of Pacific Island sustenance, served at reasonable prices, in a part of the city that otherwise lacks any major Polynesian presence.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In many ways, Hawaiian culinary history seems to be just that—a whirlpool of various, inexplicably linked ingredients from miscellaneous sources that can be cooked on the spot for anyone who’s hungry. Jacinto embodies this fusion in her own journey. After immigrating to the East Bay from the Philippines in 2009, Jacinto missed the flavors of her past. Though she isn’t Hawaiian by birth, many of her Filipino family members migrated to Hawaii in the 1990s. During yearly trips to the islands, she learned about the nuanced varieties of regional foods while helping her mother cook for relatives. According to Jacinto, the parallels between Hawaiians and Filipinos are unmistakable, highlighted by “a great sense of hospitality, an appreciation for tropical weather and a love of grilled meat.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“My favorite Hawaiian dish is kalua pork,” she tells me. “It’s slow roasted, and it’s basically lechón in the Philippines. It’s prepared slightly differently—lechón is crispier—but it’s almost the same.” (A Latina employee at iLava excitedly compared the dish to carnitas.) Filipino ube (mashed purple yam) has a distinct purple hue, just like Hawaiian poi.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">From a young age, Jacinto would cook skewered meats in the streets of her native country, grilling them over open flames and selling them to neighbors and passersby on their way to work. It was relatively inexpensive and convenient, she explains, to prepare food in this fashion. That’s where she gained an appreciation for barbecuing.\u003c/span>\u003c/p>\n\u003ch2>A Bay Area Classic\u003c/h2>\n\u003cp>\u003cspan style=\"font-weight: 400\">Of course, Hawaiian food is much more than grilled meats. But that particular style, commonly known as “Hawaiian BBQ,” is the one that’s the most widely available here in the Bay Area—especially the classic style of meal known as the plate lunch. Born from \u003c/span>\u003ca href=\"https://hawaiioceanproject.com/a-brief-history-of-plate-lunches-in-hawaii/\">\u003cspan style=\"font-weight: 400\">a working-class context of mixed leftover foods—\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">scraps from previous night’s meals consisting of rice, macaroni and a protein, heaped in a to-go bento box—the plate lunch has become an indisputable California favorite. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13911080\" class=\"wp-caption alignleft\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911080\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/patricklandeza_poke-scaled.jpg\" alt=\"Patrick Landeza mixes poke inside a large metal bowl..\" width=\"1920\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-scaled.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/patricklandeza_poke-1536x2048.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Landeza, a Hawaiian cook and musician based in Hayward, specializes in poke. But he appreciates the way Hawaiian barbecue spots make the culture more accessible to the mainstream. \u003ccite>(Courtesy of Patrick Landeza)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">“A plate lunch is just a mixture of things. We’re talking about Japanese, Korean, Hawaiian and more. We’re here in the Bay Area, and this is our taste profile, so that’s why it’s popping up everywhere,” says Patrick Landeza, a Hawaiian cook and musician who owns \u003c/span>\u003ca href=\"https://landezasisland.com/\">\u003cspan style=\"font-weight: 400\">Landeza’s Island Poke & Catering\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> in Hayward, and is a member of the \u003c/span>\u003ca href=\"https://hccnc.org/\">\u003cspan style=\"font-weight: 400\">Hawai’i Chamber of Commerce in Northern California\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though Landeza believes most Hawaiian barbecue outlets lack “true aloha,” or a sense of soul and genuine service, he also admits that they are good at “doing what they do by serving comfort food.” Raised on the “island of Berkeley,” Landeza specializes in poke—bowls of diced raw fish and other ingredients—which is a certified Hawaiian staple. As a Bay Area Hawaiian OG, he acknowledges the importance and accessibility of mainstream Hawaiian barbecue among the non-Hawaiian population.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The cuisine’s origins on the mainland date back to 1999 when Johnson Kam and Eddie Flores, Jr. opened their \u003c/span>\u003ca href=\"http://archives.starbulletin.com/1999/11/26/business/story1.html\">\u003cspan style=\"font-weight: 400\">first L&L Hawaiian BBQ outside of Hawaii\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. This was already three decades after the pair had successfully launched the original L&L Drive-In in 1976, in the Kalihi neighborhood of Oahu.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Their brand of quick, simple Hawaiian fare reached California’s shores when \u003c/span>\u003ca href=\"http://archives.starbulletin.com/1999/11/26/business/story1.html\">\u003cspan style=\"font-weight: 400\">a former employee relocated to San Francisco\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and began to serve his own Hawaiian-style plate lunches as a side hustle, Landeza explains. That initial success eventually led to the commercialization of Hawaiian food services that have since proliferated under the L&L brand name. Nowadays, the chain boasts over 200 locations throughout the United States, including a recent opening of their first franchise as far east as Florida. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Like the plate lunches they serve, L&L’s take on \u003c/span>\u003ca href=\"https://www.hawaiianbarbecue.com/about/\">\u003cspan style=\"font-weight: 400\">“the state food of Hawaii”\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> is a fusion of past traditions with modern business opportunities. They were able to offer ownership to anyone willing to invest in their franchise model—whether Hawaiian-heritaged or not. A wave of shops selling what we now know as “Hawaiian BBQ” emerged as a result, often owned by immigrants like Jacinto.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003c/div>",
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"content": "“Eating a Filipino-prepared Hawaiian plate lunch in Oakland served by Latino employees represents the beauty of what food can teach us about our human similarities.”",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are other reasons \u003c/span>\u003ca href=\"https://sf.eater.com/2019/1/28/18178937/hawaiian-food-trend-san-francisco-bay-area\">\u003cspan style=\"font-weight: 400\">Hawaiian food has reached trending status in the Bay\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. For starters, \u003c/span>\u003ca href=\"https://www.sfgate.com/news/article/Bay-Area-has-big-Pacific-Islander-population-2839970.php\">\u003cspan style=\"font-weight: 400\">the region is home to the largest population of Polynesian islanders\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> who’ve transplanted to the contiguous stateside, making this the world’s biggest Little Island, with the cities of Hayward and Vallejo boasting the most Hawaiian residents. This proximity for cultural exchange largely explains why so many Americanized Polynesian trends have been popularized in the Bay, including tiki bars and \u003c/span>\u003ca href=\"https://www.curacaoliqueur.com/articles/the-mai-tai-history-and-its-recipes-explained\">\u003cspan style=\"font-weight: 400\">the disputed origins of the mai tai cocktail\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">For many, these can come across as a form of \u003c/span>\u003ca href=\"https://www.latimes.com/food/story/2019-11-27/tiki-bar-problems\">\u003cspan style=\"font-weight: 400\">cultural appropriation and “colonial nostalgia\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.” I’ve seen the same exotic simplification happen with Mexican food—it’s tricky territory to mindlessly enjoy a tiki beverage or “Aloha burger” without considering the layers beneath the surface. On the one hand, it represents some attempt to offer the flavors and experiences of a region. But when done poorly, it comes off as kitschy, tone-deaf and imperialistically exploitative. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the case of iLava, though, eating a Filipino-prepared Hawaiian plate lunch in Oakland served by Latino employees represents the beauty of what food can teach us about our human similarities.\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>“Food is a vehicle for building community, creating and nurturing that community,” says Landeza. “I don’t do Hawaiian barbecue. I am a Hawaiian caterer who does Hawaiian food. But coming from the mainland with Hawaiian roots, we miss these foods because we identify with it, and we want to relive that however we can. I’ve lived in both worlds, and there is a way to share that aloha, through food and music.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Whatever your personal preferences may be, I can only speak for mine: I’ll take a Hawaiian-style barbecue plate lunch any day of the week. There’s just something refreshingly simple about it, and it reminds me of how we’re all a mixture of histories that are outside of anyone’s control or simple definitions. In a way, this mishmash is the only thing I know. It’s a place of comfort for me as the child of immigrants.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Jacinto, an immigrant herself, feels similarly. “Hawaii reminds me of my home—the warmth, the green, the beaches,” she says. “It’s the closest where I can feel like I’m home.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Who can’t stomach that?\u003c/span>\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>iLava Hawaiian Barbecue is open 11 am–8:15 pm daily at 1446 High St. in Oakland.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Oakland Entrepreneur Building Safety Nets for When Social Services Fall Short",
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"content": "\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=KQINC9037901887\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For some young folks, there comes a time when they age out of child-serving social services. Their safety nets get thinner and they can struggle to find their footing with limited resources or experience. These sixteen to twenty-four-year-olds are sometimes called “transitional age youth” or TAY.\u003c/p>\n\u003cp>This is the crowd that \u003ca href=\"https://www.linkedin.com/in/desiresimonejohnson/\" target=\"_blank\" rel=\"noopener noreferrer\">Desire Johnson-Forte\u003c/a> helps. She cares because she was once one of them.\u003c/p>\n\u003cp>Desire is currently the Executive Director of \u003ca href=\"https://www.thebizstoop.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The BIZ (Black Intergenerational Zeal) Stoop.\u003c/a> The organization has been around for six years, and has worked with about 50 young folks each year.\u003c/p>\n\u003cp>At The BIZ Stoop they take a holistic approach to supporting young people. To increase Black life expectancy they address fatalism through group conversations. They help young folks from the East Bay tell their stories to shift public narratives about them. And they support young people build businesses and careers through coaching, economic education and financial support in the form of micro-grants.\u003c/p>\n\u003cp>Desire, also the founder of \u003ca href=\"https://www.instagram.com/damngoodteas/\" target=\"_blank\" rel=\"noopener noreferrer\">Damn Good Teas\u003c/a>, has been doing this kind of work since she was a young person transitioning into adulthood, dealing with all that life threw at her.\u003c/p>\n\u003cp>This week Desire shares a bit of her story, why her work is important right now, and how she grew from a place where she needed assistance to being the person who provides.\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of my conversation with Desire Johnson-Forte.\u003c/strong>\u003c/p>\n\u003cp>Desire: …I started organizing in elementary school, to get teachers and support staff to stay at our schools in Oakland. And that grew into further community work around sustainability and getting young people a voice and platform.\u003c/p>\n\u003cp>Desire: When I was 18, I came out as a survivor of long term assault by someone close to my family. That was the scariest thing I probably ever did outside of moving away from home because that put reality in my lap. Even though I had been presenting symptoms of something deep going on, no one could really put their finger on it, or maybe they were not comfortable pushing the conversation. When I got to living independently I just had to come out with the truth… I didn’t want to carry that pain and shame far off into my life and just never get to heal about it… so it ended up coming out.\u003c/p>\n\u003cp>Desire: It motivated other folks to come out to me. So I started a group for survivors on my campus and I went to Mills College… I was surprised at a women’s college there wasn’t any like ongoing support group for survivors. And that’s how I really started cutting my teeth, creating ways to address the needs of people who are living at the margins or carrying a lot of burden.\u003c/p>\n\u003cp>\u003cem>Pen (narration): After college, Desire worked with the youth impact hub. It’s a building just north of downtown Oakland and runs supportive programs for 18 to 24 year olds. Desire focused on developing a business plan, and that’s where the idea for The BIZ Stoop originated…\u003c/em>\u003c/p>\n\u003cp>Desire: How do we address the roots of fatalism, shift the wealth narrative, shift the health narrative and earn our keep? Legitimately earn our keep so we can sustain ourselves where we choose to live, where we choose to have family and where we choose to make community. So that is what the BIZ Stoop is about.\u003c/p>\n\u003cp>\u003cem>Pen: You’re tackling some huge issues… like fatalism is something that I’ve dealt with in my circle from a young age 12-13 being like, I’m not going to live past 18, 21, you know? And then by the grace of God making it past that age, then wrapping my mind around that like, ‘oh, i gotta get a job, a place to live, and things like that.’ \u003c/em>\u003cem>What you’re saying about helping young people transition into society is really important work…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: Now you’re on the other end, creating programs that build similar skills. What do you make of this journey so far?\u003c/em>\u003c/p>\n\u003cp>Desire: It goes back to my own life in progress. I know that these are the challenges I’ve had to overcome. I had to go to therapy. I’ve had to build healthy relationships. I also feel very connected with my ancestors, whether I’ve known them or not. In current time, to decades and centuries ago. They made it through some shit! So it’s my duty to make it through in this life…\u003c/p>\n\u003cp>Desire: I live in a quote-unquote dangerous environment, so community violence is a possibility, but also self-inflicted harm is a major possibility and having the tools to heal yourself are essential, I believe, to be able to wake up and feel like today I can try again. And then being in a positive affirmative community that is also going to challenge you. And I don’t think that we should continue to make people go to very extreme situations to access the support that they need to stabilize.\u003c/p>\n\u003cp>\u003cem>Pen: Seeing your trajectory, how far you’ve grown, where you’ve come from and the work that you’re doing now… Is there ever a moment where you just look up and you’re like, I’m so glad I helped this young person because you can maybe even see yourself in them?\u003c/em>\u003c/p>\n\u003cp>Desire: I think about that a lot… I hope that I’m doing what’s right, and it’s only through that data, through the conversations with young people, when they say ‘thank you’ that I know that I’m doing what’s right, that I actually did help somebody.\u003c/p>\n\u003cp>Desire: It makes me very happy when I learn other people have taken their ideas seriously… get recognition, get the funding, get the customers, get whatever to keep doing that ‘cuz the low wage working class struggle that we’ve had to endure and watch our parents endure is to too f***ing much.\u003c/p>\n\u003cp>\u003cem>Pen: Thank you for sharing that… Through your career in doing this work, I’m sure you’ve seen some changes. What are the more significant things that you’ve seen change when it comes to working with transitional age youth?\u003c/em>\u003c/p>\n\u003cp>Desire: Well a lot of us have basically aged out of the resources that would usually be available. It’s terrible when you start your healing process and then it’s ripped out from under you. So a little bit of change I’ve seen is some programs have expanded their age to 26 to maybe 27 years old. As you get older, there’s more responsibility, of course, of course, but there should still be a basic level of some network support because people are still suffering.\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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"title": "The Oakland Entrepreneur Building Safety Nets for When Social Services Fall Short | KQED",
"description": "For some young folks, there comes a time when they age out of child-serving social services. Their safety nets get thinner and they can struggle to find their footing with limited resources or experience. These sixteen to twenty-four-year-olds are sometimes called "transitional age youth" or TAY. This is the crowd that Desire Johnson-Forte helps. She cares because she was once one of them. Desire is currently the Executive Director of The BIZ (Black Intergenerational Zeal) Stoop. The organization has been around for six years, and has worked with about 50 young folks each year. At The BIZ Stoop they take a",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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=KQINC9037901887\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>For some young folks, there comes a time when they age out of child-serving social services. Their safety nets get thinner and they can struggle to find their footing with limited resources or experience. These sixteen to twenty-four-year-olds are sometimes called “transitional age youth” or TAY.\u003c/p>\n\u003cp>This is the crowd that \u003ca href=\"https://www.linkedin.com/in/desiresimonejohnson/\" target=\"_blank\" rel=\"noopener noreferrer\">Desire Johnson-Forte\u003c/a> helps. She cares because she was once one of them.\u003c/p>\n\u003cp>Desire is currently the Executive Director of \u003ca href=\"https://www.thebizstoop.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The BIZ (Black Intergenerational Zeal) Stoop.\u003c/a> The organization has been around for six years, and has worked with about 50 young folks each year.\u003c/p>\n\u003cp>At The BIZ Stoop they take a holistic approach to supporting young people. To increase Black life expectancy they address fatalism through group conversations. They help young folks from the East Bay tell their stories to shift public narratives about them. And they support young people build businesses and careers through coaching, economic education and financial support in the form of micro-grants.\u003c/p>\n\u003cp>Desire, also the founder of \u003ca href=\"https://www.instagram.com/damngoodteas/\" target=\"_blank\" rel=\"noopener noreferrer\">Damn Good Teas\u003c/a>, has been doing this kind of work since she was a young person transitioning into adulthood, dealing with all that life threw at her.\u003c/p>\n\u003cp>This week Desire shares a bit of her story, why her work is important right now, and how she grew from a place where she needed assistance to being the person who provides.\u003c/p>\n\u003cp>\u003cstrong>Below are some lightly edited excerpts of my conversation with Desire Johnson-Forte.\u003c/strong>\u003c/p>\n\u003cp>Desire: …I started organizing in elementary school, to get teachers and support staff to stay at our schools in Oakland. And that grew into further community work around sustainability and getting young people a voice and platform.\u003c/p>\n\u003cp>Desire: When I was 18, I came out as a survivor of long term assault by someone close to my family. That was the scariest thing I probably ever did outside of moving away from home because that put reality in my lap. Even though I had been presenting symptoms of something deep going on, no one could really put their finger on it, or maybe they were not comfortable pushing the conversation. When I got to living independently I just had to come out with the truth… I didn’t want to carry that pain and shame far off into my life and just never get to heal about it… so it ended up coming out.\u003c/p>\n\u003cp>Desire: It motivated other folks to come out to me. So I started a group for survivors on my campus and I went to Mills College… I was surprised at a women’s college there wasn’t any like ongoing support group for survivors. And that’s how I really started cutting my teeth, creating ways to address the needs of people who are living at the margins or carrying a lot of burden.\u003c/p>\n\u003cp>\u003cem>Pen (narration): After college, Desire worked with the youth impact hub. It’s a building just north of downtown Oakland and runs supportive programs for 18 to 24 year olds. Desire focused on developing a business plan, and that’s where the idea for The BIZ Stoop originated…\u003c/em>\u003c/p>\n\u003cp>Desire: How do we address the roots of fatalism, shift the wealth narrative, shift the health narrative and earn our keep? Legitimately earn our keep so we can sustain ourselves where we choose to live, where we choose to have family and where we choose to make community. So that is what the BIZ Stoop is about.\u003c/p>\n\u003cp>\u003cem>Pen: You’re tackling some huge issues… like fatalism is something that I’ve dealt with in my circle from a young age 12-13 being like, I’m not going to live past 18, 21, you know? And then by the grace of God making it past that age, then wrapping my mind around that like, ‘oh, i gotta get a job, a place to live, and things like that.’ \u003c/em>\u003cem>What you’re saying about helping young people transition into society is really important work…\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: Now you’re on the other end, creating programs that build similar skills. What do you make of this journey so far?\u003c/em>\u003c/p>\n\u003cp>Desire: It goes back to my own life in progress. I know that these are the challenges I’ve had to overcome. I had to go to therapy. I’ve had to build healthy relationships. I also feel very connected with my ancestors, whether I’ve known them or not. In current time, to decades and centuries ago. They made it through some shit! So it’s my duty to make it through in this life…\u003c/p>\n\u003cp>Desire: I live in a quote-unquote dangerous environment, so community violence is a possibility, but also self-inflicted harm is a major possibility and having the tools to heal yourself are essential, I believe, to be able to wake up and feel like today I can try again. And then being in a positive affirmative community that is also going to challenge you. And I don’t think that we should continue to make people go to very extreme situations to access the support that they need to stabilize.\u003c/p>\n\u003cp>\u003cem>Pen: Seeing your trajectory, how far you’ve grown, where you’ve come from and the work that you’re doing now… Is there ever a moment where you just look up and you’re like, I’m so glad I helped this young person because you can maybe even see yourself in them?\u003c/em>\u003c/p>\n\u003cp>Desire: I think about that a lot… I hope that I’m doing what’s right, and it’s only through that data, through the conversations with young people, when they say ‘thank you’ that I know that I’m doing what’s right, that I actually did help somebody.\u003c/p>\n\u003cp>Desire: It makes me very happy when I learn other people have taken their ideas seriously… get recognition, get the funding, get the customers, get whatever to keep doing that ‘cuz the low wage working class struggle that we’ve had to endure and watch our parents endure is to too f***ing much.\u003c/p>\n\u003cp>\u003cem>Pen: Thank you for sharing that… Through your career in doing this work, I’m sure you’ve seen some changes. What are the more significant things that you’ve seen change when it comes to working with transitional age youth?\u003c/em>\u003c/p>\n\u003cp>Desire: Well a lot of us have basically aged out of the resources that would usually be available. It’s terrible when you start your healing process and then it’s ripped out from under you. So a little bit of change I’ve seen is some programs have expanded their age to 26 to maybe 27 years old. As you get older, there’s more responsibility, of course, of course, but there should still be a basic level of some network support because people are still suffering.\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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"slug": "city-of-oakland-hot-air-balloon-idora-park-piedmont-baths-neptune-beach",
"title": "5 Long-Lost East Bay Attractions That Should’ve Been Saved",
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"content": "\u003cp>These days, anyone in the Bay Area seeking fairground thrills and spills needs to travel to Vallejo or Santa Clara to get ’em. But in the days before Six Flags, Great America and, well, regular people owning cars, the amusements mostly stayed close to Oakland and \u003ca href=\"https://www.kqed.org/arts/13909983\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> to maximize visitor numbers. And that’s not all that was on offer… Here are five old East Bay attractions that should’ve been saved from the scrap pile.\u003c/p>\n\u003ch2>Idora Park\u003c/h2>\n\u003cfigure id=\"attachment_13910338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910338\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-800x490.png\" alt=\"\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-800x490.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-1020x625.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-1536x942.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-2048x1255.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-1920x1177.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the rides at Oakland’s Idora Park—a giant swing.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a fairly anonymous patch of Oakland now—residential homes, freeway underpasses, parking lots and such—but for 25 years, the plot of land between 56th, 58th, Telegraph and Shattuck was a glorious amusement ground. Idora Park opened in 1904 and was originally conceived as a “trolley park”—an attraction specifically designed to get people to ride public transportation on the weekends. But, oh boy, did the park offer ample incentives for visitors to flock there.\u003c/p>\n\u003cp>[aside postid='arts_13900997']Idora featured beautiful \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/3743\" target=\"_blank\" rel=\"noopener noreferrer\">gardens\u003c/a>, a giant \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/3744\" target=\"_blank\" rel=\"noopener noreferrer\">roller-skating rink\u003c/a>, a zoo, racetrack, archery range, dance hall, miniature railway, amphitheater with grand outdoor stage, bandstand, Japanese garden \u003cem>and\u003c/em> ostrich farm. All for an entry fee of 10 cents (about three dollars in 2022 money). Plus—there’s more!—peppered throughout the park were \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/162\" target=\"_blank\" rel=\"noopener noreferrer\">roller coasters\u003c/a> and a variety of fairground attractions including a \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/179\" target=\"_blank\" rel=\"noopener noreferrer\">mountain slide\u003c/a>, \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/163\" target=\"_blank\" rel=\"noopener noreferrer\">circular swing\u003c/a>, penny arcade and whatever \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/184\" target=\"_blank\" rel=\"noopener noreferrer\">Shooting the Rapids\u003c/a>, the \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/189\" target=\"_blank\" rel=\"noopener noreferrer\">Tickler\u003c/a> and the Social Whirl were.\u003c/p>\n\u003cp>The fun came crashing down after cars became more affordable in the 1920s, and folks in Oakland had the means to venture further afield. Idora Park was demolished in 1929. Today, its name is primarily invoked by \u003ca href=\"https://www.532aileen.com/neighborhood-1\" target=\"_blank\" rel=\"noopener noreferrer\">realtors trying to sell homes in the Temescal district\u003c/a>.\u003c/p>\n\u003ch2>The ‘City of Oakland’ Hot Air Balloon\u003c/h2>\n\u003cfigure id=\"attachment_13910326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910326\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-800x480.png\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-1020x612.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-2048x1230.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-1920x1153.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “City of Oakland” hot air balloon, surrounded by throngs of well-wishers in 1909, as it prepared to take off from 14th and Franklin in Oakland. \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>City of Oakland\u003c/em>’s maiden voyage happened on Aug. 14, 1909. Surrounded by throngs of people, the balloon took off from 14th and Webster in Oakland. Its 40-foot diameter narrowly avoided a collision with the spires of the First Presbyterian Church, almost drifted out to sea, and eventually plunged to the ground three hours later when 50-mile-per-hour winds hit. Balloon pilots (or “aeronauts” as they were known), Professor A. Van der Naillen Jr. and P. A. Van Tassel, were dragged for half a mile across the floor of a rocky canyon—and through two barbed wire fences!—before the balloon came to a stop.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“During the half mile of dragging we experienced, the basket turned completely over once and I am still wondering how we kept from falling out,” Van der Naillen later told the \u003cem>San Francisco Chronicle\u003c/em>. Regardless, the voyage was considered a success, with the \u003cem>City of Oakland\u003c/em> reaching its optimum altitude of 5,000 feet.\u003c/p>\n\u003cp>For the next year, the \u003cem>City of Oakland\u003c/em> went out, up and down the coast, again and again, winning races and giving The Town’s residents a boost of pride. In October 1909, the balloon won a race against the \u003cem>Queen of the Pacific\u003c/em>—a newsworthy event because both were piloted by women. The following month, the balloon beat a \u003cem>City of San Francisco\u003c/em> vessel in a race that started on 11th and Market in San Francisco.\u003c/p>\n\u003cp>Which all begs the question: Why is this thing not on permanent display somewhere?\u003c/p>\n\u003ch2>Piedmont Baths\u003c/h2>\n\u003cfigure id=\"attachment_13910344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-800x471.png\" alt=\"A sprawling red brick structure with rounded exterior walls and tall chimneys behind. \" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-1020x600.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-1920x1130.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM.png 1954w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Piedmont Baths, in all of their turn-of-the-century glory. \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know the Whole Foods currently standing at Bay Place and Vernon Street? Just up the street from \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fairyland\u003c/a> and Lake Merritt? Well, that site used to be home to a luxurious and sprawling bathhouse and spa.\u003c/p>\n\u003cp>[aside postid='pop_103040']Founded in 1890, Piedmont Baths provided Victorians with “20 different kinds of baths” (including Turkish and Russian), hot tubs (salt or fresh water), massages, plus a café and candy stand for snack time. It also housed a stunning 70-foot-by-120-foot swimming pool, complete with springboards and a trapeze. The saltwater was drawn from Lake Merritt using a Worthington pump (which could supply 500 gallons per minute) and a circular pump. The water was heated by waste steam from a nearby cable car power plant owned by the Oakland Transit Company.\u003c/p>\n\u003cp>An ad in the \u003cem>Oakland Tribune\u003c/em>, placed Sept. 10, 1900, confidently stated: “People who have visited all the principal baths in this country and Europe all agree that the Piedmont Baths are the most complete in detail and are finished and furnished the best of any baths they have seen in their tour around the world.” The promotion added: “Doctors recommend swimming in tepid saltwater as the very best kind of exercise for young and old, sick and well.”\u003c/p>\n\u003ch2>Tompkins Park Roller Coaster\u003c/h2>\n\u003cfigure id=\"attachment_13910519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-800x589.png\" alt=\"Seven children, most around the age of 10, all wearing white shirts, hats and suspenders, sit in a miniature railway car.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The scrappy bunch of kids who built their own 200-foot-long roller coaster in West Oakland in 1915. \u003ccite>(Oakland Tribune, March 27, 1915)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture it: West Oakland, 1915. A bunch of streetwise children spend a lot of free time hanging out in Tompkins Park. Directly opposite is an infamous vacant lot that’s known as the “dumps” on account of how much junk and trash gets discarded there. One day, local kids Vincent Carvalho and Raymond Antwiler notice a set of rails and part of a miniature railway have joined the junk pile. So they decide to build themselves a roller coaster. When word spreads of the project, five more enterprising kids—Joey Gomez, Marion Cabral, Ben Viera, Joe Swartz and Frank Dominguez—step up to assist. And, within two weeks, against the odds (insert inspiring montage here), the ragtag crew actually succeeds.\u003c/p>\n\u003cp>[aside postid='arts_13909983']On March 27, 1915, the \u003cem>Oakland Tribune\u003c/em> reported on the structure which was set up on a path through and over refuse in the dumps. The \u003ca href=\"https://www.kqed.org/arts/13909983\" target=\"_blank\" rel=\"noopener noreferrer\">gravity railroad\u003c/a>-style ride was apparently held up—and propelled—by a large boiler at the top, followed by “a trestle of wood blocks, and driftwood from the beach.” The boys even added some novel customizations.\u003c/p>\n\u003cp>“There was a switch in the system,” the \u003cem>Tribune\u003c/em> reported, “and a side tracking a sharp curve between an old concrete mixer and a discarded boiler … About 200 feet of track in all was laid and a swift trip, though one perhaps somewhat lacking in scenic attractions, was provided for the throngs of young ones that clamored for the privilege.”\u003c/p>\n\u003ch2>Neptune Beach\u003c/h2>\n\u003cfigure id=\"attachment_13910351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-800x510.png\" alt=\"An old postcard depicts one giant swimming pool, and a smaller one next to it, surrounded by green space and fairground attractions.\" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-1536x980.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM.png 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alameda’s Neptune Beach was considered the ‘Coney Island of the West.’\u003c/figcaption>\u003c/figure>\n\u003cp>There are many legends about Neptune Beach. This Alameda water and amusement park is where the popsicle, snow cone \u003cem>and\u003c/em> Kewpie doll all apparently made their debuts! Open between 1917 and 1939 where \u003ca href=\"https://www.ebparks.org/parks/visitor-centers/crab-cove\" target=\"_blank\" rel=\"noopener noreferrer\">Crab Cove\u003c/a> is today, Neptune Park had two outdoor pools (one was Olympic-sized), a dance hall, barbecue pits and rentable vacation cottages. Non-swimmers could amuse themselves on the massive roller coaster, Ferris wheel and a carousel that was hand-carved by Philadelphia’s \u003ca href=\"https://en.wikipedia.org/wiki/Dentzel_Carousel_Company\" target=\"_blank\" rel=\"noopener noreferrer\">Dentzel Company\u003c/a>. Entry to the park was just a dime.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Attendance slowed down during the Great Depression, and hit a major slump after the Bay Bridge opened in 1936. By 1939, the park was in deep debt. That year, the Central Bank of Oakland foreclosed and, in 1940, the once-hallowed contents of Neptune Beach were sold off at auction for a pittance. Today, the last remaining sign that it was ever there are the \u003ca href=\"https://www.neptunecourtapartments.com/history\" target=\"_blank\" rel=\"noopener noreferrer\">Neptune Court Apartments\u003c/a>, built in the 1920s by \u003ca href=\"https://alamedasun.com/news/100-years-later-remembering-robert-strehlow\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Strehlow\u003c/a>, who was a co-founder of the park. You can currently rent a one-bedroom there for $2,200 and up.\u003c/p>\n\n",
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"title": "5 Long-Lost East Bay Attractions That Should’ve Been Saved | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, anyone in the Bay Area seeking fairground thrills and spills needs to travel to Vallejo or Santa Clara to get ’em. But in the days before Six Flags, Great America and, well, regular people owning cars, the amusements mostly stayed close to Oakland and \u003ca href=\"https://www.kqed.org/arts/13909983\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco\u003c/a> to maximize visitor numbers. And that’s not all that was on offer… Here are five old East Bay attractions that should’ve been saved from the scrap pile.\u003c/p>\n\u003ch2>Idora Park\u003c/h2>\n\u003cfigure id=\"attachment_13910338\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910338\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-800x490.png\" alt=\"\" width=\"800\" height=\"490\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-800x490.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-1020x625.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-768x471.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-1536x942.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-2048x1255.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-12.32.21-PM-1920x1177.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">One of the rides at Oakland’s Idora Park—a giant swing.\u003c/figcaption>\u003c/figure>\n\u003cp>It’s a fairly anonymous patch of Oakland now—residential homes, freeway underpasses, parking lots and such—but for 25 years, the plot of land between 56th, 58th, Telegraph and Shattuck was a glorious amusement ground. Idora Park opened in 1904 and was originally conceived as a “trolley park”—an attraction specifically designed to get people to ride public transportation on the weekends. But, oh boy, did the park offer ample incentives for visitors to flock there.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Idora featured beautiful \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/3743\" target=\"_blank\" rel=\"noopener noreferrer\">gardens\u003c/a>, a giant \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/3744\" target=\"_blank\" rel=\"noopener noreferrer\">roller-skating rink\u003c/a>, a zoo, racetrack, archery range, dance hall, miniature railway, amphitheater with grand outdoor stage, bandstand, Japanese garden \u003cem>and\u003c/em> ostrich farm. All for an entry fee of 10 cents (about three dollars in 2022 money). Plus—there’s more!—peppered throughout the park were \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/162\" target=\"_blank\" rel=\"noopener noreferrer\">roller coasters\u003c/a> and a variety of fairground attractions including a \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/179\" target=\"_blank\" rel=\"noopener noreferrer\">mountain slide\u003c/a>, \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/163\" target=\"_blank\" rel=\"noopener noreferrer\">circular swing\u003c/a>, penny arcade and whatever \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/184\" target=\"_blank\" rel=\"noopener noreferrer\">Shooting the Rapids\u003c/a>, the \u003ca href=\"https://alamedainfo.com/idora-park-oakland-california/#bwg2/189\" target=\"_blank\" rel=\"noopener noreferrer\">Tickler\u003c/a> and the Social Whirl were.\u003c/p>\n\u003cp>The fun came crashing down after cars became more affordable in the 1920s, and folks in Oakland had the means to venture further afield. Idora Park was demolished in 1929. Today, its name is primarily invoked by \u003ca href=\"https://www.532aileen.com/neighborhood-1\" target=\"_blank\" rel=\"noopener noreferrer\">realtors trying to sell homes in the Temescal district\u003c/a>.\u003c/p>\n\u003ch2>The ‘City of Oakland’ Hot Air Balloon\u003c/h2>\n\u003cfigure id=\"attachment_13910326\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910326\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-800x480.png\" alt=\"\" width=\"800\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-800x480.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-1020x612.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-160x96.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-768x461.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-1536x922.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-2048x1230.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-09-at-4.47.28-PM-1920x1153.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The “City of Oakland” hot air balloon, surrounded by throngs of well-wishers in 1909, as it prepared to take off from 14th and Franklin in Oakland. \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003cem>City of Oakland\u003c/em>’s maiden voyage happened on Aug. 14, 1909. Surrounded by throngs of people, the balloon took off from 14th and Webster in Oakland. Its 40-foot diameter narrowly avoided a collision with the spires of the First Presbyterian Church, almost drifted out to sea, and eventually plunged to the ground three hours later when 50-mile-per-hour winds hit. Balloon pilots (or “aeronauts” as they were known), Professor A. Van der Naillen Jr. and P. A. Van Tassel, were dragged for half a mile across the floor of a rocky canyon—and through two barbed wire fences!—before the balloon came to a stop.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“During the half mile of dragging we experienced, the basket turned completely over once and I am still wondering how we kept from falling out,” Van der Naillen later told the \u003cem>San Francisco Chronicle\u003c/em>. Regardless, the voyage was considered a success, with the \u003cem>City of Oakland\u003c/em> reaching its optimum altitude of 5,000 feet.\u003c/p>\n\u003cp>For the next year, the \u003cem>City of Oakland\u003c/em> went out, up and down the coast, again and again, winning races and giving The Town’s residents a boost of pride. In October 1909, the balloon won a race against the \u003cem>Queen of the Pacific\u003c/em>—a newsworthy event because both were piloted by women. The following month, the balloon beat a \u003cem>City of San Francisco\u003c/em> vessel in a race that started on 11th and Market in San Francisco.\u003c/p>\n\u003cp>Which all begs the question: Why is this thing not on permanent display somewhere?\u003c/p>\n\u003ch2>Piedmont Baths\u003c/h2>\n\u003cfigure id=\"attachment_13910344\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910344\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-800x471.png\" alt=\"A sprawling red brick structure with rounded exterior walls and tall chimneys behind. \" width=\"800\" height=\"471\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-800x471.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-1020x600.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-160x94.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-768x452.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-1536x904.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM-1920x1130.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-1.23.00-PM.png 1954w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Piedmont Baths, in all of their turn-of-the-century glory. \u003ccite>(Public domain)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>You know the Whole Foods currently standing at Bay Place and Vernon Street? Just up the street from \u003ca href=\"https://fairyland.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Fairyland\u003c/a> and Lake Merritt? Well, that site used to be home to a luxurious and sprawling bathhouse and spa.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Founded in 1890, Piedmont Baths provided Victorians with “20 different kinds of baths” (including Turkish and Russian), hot tubs (salt or fresh water), massages, plus a café and candy stand for snack time. It also housed a stunning 70-foot-by-120-foot swimming pool, complete with springboards and a trapeze. The saltwater was drawn from Lake Merritt using a Worthington pump (which could supply 500 gallons per minute) and a circular pump. The water was heated by waste steam from a nearby cable car power plant owned by the Oakland Transit Company.\u003c/p>\n\u003cp>An ad in the \u003cem>Oakland Tribune\u003c/em>, placed Sept. 10, 1900, confidently stated: “People who have visited all the principal baths in this country and Europe all agree that the Piedmont Baths are the most complete in detail and are finished and furnished the best of any baths they have seen in their tour around the world.” The promotion added: “Doctors recommend swimming in tepid saltwater as the very best kind of exercise for young and old, sick and well.”\u003c/p>\n\u003ch2>Tompkins Park Roller Coaster\u003c/h2>\n\u003cfigure id=\"attachment_13910519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-800x589.png\" alt=\"Seven children, most around the age of 10, all wearing white shirts, hats and suspenders, sit in a miniature railway car.\" width=\"800\" height=\"589\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-800x589.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-1020x750.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-160x118.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM-768x565.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-11-at-4.43.51-PM.png 1370w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The scrappy bunch of kids who built their own 200-foot-long roller coaster in West Oakland in 1915. \u003ccite>(Oakland Tribune, March 27, 1915)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Picture it: West Oakland, 1915. A bunch of streetwise children spend a lot of free time hanging out in Tompkins Park. Directly opposite is an infamous vacant lot that’s known as the “dumps” on account of how much junk and trash gets discarded there. One day, local kids Vincent Carvalho and Raymond Antwiler notice a set of rails and part of a miniature railway have joined the junk pile. So they decide to build themselves a roller coaster. When word spreads of the project, five more enterprising kids—Joey Gomez, Marion Cabral, Ben Viera, Joe Swartz and Frank Dominguez—step up to assist. And, within two weeks, against the odds (insert inspiring montage here), the ragtag crew actually succeeds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On March 27, 1915, the \u003cem>Oakland Tribune\u003c/em> reported on the structure which was set up on a path through and over refuse in the dumps. The \u003ca href=\"https://www.kqed.org/arts/13909983\" target=\"_blank\" rel=\"noopener noreferrer\">gravity railroad\u003c/a>-style ride was apparently held up—and propelled—by a large boiler at the top, followed by “a trestle of wood blocks, and driftwood from the beach.” The boys even added some novel customizations.\u003c/p>\n\u003cp>“There was a switch in the system,” the \u003cem>Tribune\u003c/em> reported, “and a side tracking a sharp curve between an old concrete mixer and a discarded boiler … About 200 feet of track in all was laid and a swift trip, though one perhaps somewhat lacking in scenic attractions, was provided for the throngs of young ones that clamored for the privilege.”\u003c/p>\n\u003ch2>Neptune Beach\u003c/h2>\n\u003cfigure id=\"attachment_13910351\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910351\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-800x510.png\" alt=\"An old postcard depicts one giant swimming pool, and a smaller one next to it, surrounded by green space and fairground attractions.\" width=\"800\" height=\"510\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-800x510.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-1020x651.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-768x490.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM-1536x980.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-10-at-2.01.07-PM.png 1812w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alameda’s Neptune Beach was considered the ‘Coney Island of the West.’\u003c/figcaption>\u003c/figure>\n\u003cp>There are many legends about Neptune Beach. This Alameda water and amusement park is where the popsicle, snow cone \u003cem>and\u003c/em> Kewpie doll all apparently made their debuts! Open between 1917 and 1939 where \u003ca href=\"https://www.ebparks.org/parks/visitor-centers/crab-cove\" target=\"_blank\" rel=\"noopener noreferrer\">Crab Cove\u003c/a> is today, Neptune Park had two outdoor pools (one was Olympic-sized), a dance hall, barbecue pits and rentable vacation cottages. Non-swimmers could amuse themselves on the massive roller coaster, Ferris wheel and a carousel that was hand-carved by Philadelphia’s \u003ca href=\"https://en.wikipedia.org/wiki/Dentzel_Carousel_Company\" target=\"_blank\" rel=\"noopener noreferrer\">Dentzel Company\u003c/a>. Entry to the park was just a dime.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Attendance slowed down during the Great Depression, and hit a major slump after the Bay Bridge opened in 1936. By 1939, the park was in deep debt. That year, the Central Bank of Oakland foreclosed and, in 1940, the once-hallowed contents of Neptune Beach were sold off at auction for a pittance. Today, the last remaining sign that it was ever there are the \u003ca href=\"https://www.neptunecourtapartments.com/history\" target=\"_blank\" rel=\"noopener noreferrer\">Neptune Court Apartments\u003c/a>, built in the 1920s by \u003ca href=\"https://alamedasun.com/news/100-years-later-remembering-robert-strehlow\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Strehlow\u003c/a>, who was a co-founder of the park. You can currently rent a one-bedroom there for $2,200 and up.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"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.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"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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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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