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"content": "\u003cp>Paul Mooney, a boundary-pushing comedian who was Richard Pryor’s longtime writing partner and whose sage, incisive musings on racism and American life made him a revered figure in stand-up, has died. He was 79.\u003c/p>\n\u003cp>Cassandra Williams, Mooney’s publicist, said he died Wednesday morning at his home in Oakland, California, from a heart attack.\u003c/p>\n\u003cp>Mooney’s friendship and collaboration with Pryor began in 1968 and lasted until Pryor’s death in 2005. Together, working behind the scenes on shows like \u003cem>Sanford and Son\u003c/em>, they confronted racism perhaps more directly than it ever had been before onstage. Mooney chronicled their partnership in his 2007 memoir \u003cem>Black Is the New White\u003c/em>.\u003c/p>\n\u003cp>Often referred to as the “godfather of modern Black comedy,” Mooney wasn’t as widely known as Pryor, but his influence on comedy was ubiquitous. As head writer on \u003cem>In Living Color\u003c/em>, Mooney helped create and inspire the Homey D. Clown character. He played the future-foretelling Negrodamus on \u003cem>Chappelle’s Show\u003c/em>.\u003c/p>\n\u003cp>Mooney was also an actor who played Sam Cooke in 1978′s \u003cem>The Buddy Holly Story\u003c/em> and Junebug in Spike Lee’s 2000 film \u003cem>Bamboozled\u003c/em>. In recent years, he performed frequently on Bay Area stages, such as the Berkeley Black Repertory Theatre. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mooney was born in Louisiana. In 2009, he told NPR he got his sense of humor from his grandmother. “My grandmother was very funny… She used to sleep with a hammer, you know. So she was a funny person,” he said.\u003c/p>\n\u003cp>In 2006, Mooney talked to NPR about his decision to stop using the “n” word in his stand-up. It happened after his friend, Seinfeld star Michael Richards, unleashed the word on a crowd of hecklers during a show. Mooney told NPR, “When I saw the video, I mean, I’m not easily shocked—I went into shock.” He went on to say, “I was outside of myself looking at me and looking at the word and it was such a weapon. It was such a nuclear – like it was a weapon. It was just – I don’t ever want anybody to have that power again.”\u003c/p>\n\u003cp>Mooney might not have been as famous as his friends and peers like Eddie Murphy and Dave Chappelle, but his influence on comedy runs deep. \u003c/p>\n\u003cp>Filmmaker Ava Duvernay called Mooney “a comedy giant.”\u003c/p>\n\u003cp>“I recall listening to his RACE album in college and how formative it was. Yeah, the jokes. But more so, the freedom. He spoke freely and fearlessly about feelings and experiences others found difficult to express. May he be truly free now. Rest, sir.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting by Jake Coyle, Associated Press; Elizabeth Blair, NPR; and Gabe Meline, KQED.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Paul Mooney, a boundary-pushing comedian who was Richard Pryor’s longtime writing partner and whose sage, incisive musings on racism and American life made him a revered figure in stand-up, has died. He was 79.\u003c/p>\n\u003cp>Cassandra Williams, Mooney’s publicist, said he died Wednesday morning at his home in Oakland, California, from a heart attack.\u003c/p>\n\u003cp>Mooney’s friendship and collaboration with Pryor began in 1968 and lasted until Pryor’s death in 2005. Together, working behind the scenes on shows like \u003cem>Sanford and Son\u003c/em>, they confronted racism perhaps more directly than it ever had been before onstage. Mooney chronicled their partnership in his 2007 memoir \u003cem>Black Is the New White\u003c/em>.\u003c/p>\n\u003cp>Often referred to as the “godfather of modern Black comedy,” Mooney wasn’t as widely known as Pryor, but his influence on comedy was ubiquitous. As head writer on \u003cem>In Living Color\u003c/em>, Mooney helped create and inspire the Homey D. Clown character. He played the future-foretelling Negrodamus on \u003cem>Chappelle’s Show\u003c/em>.\u003c/p>\n\u003cp>Mooney was also an actor who played Sam Cooke in 1978′s \u003cem>The Buddy Holly Story\u003c/em> and Junebug in Spike Lee’s 2000 film \u003cem>Bamboozled\u003c/em>. In recent years, he performed frequently on Bay Area stages, such as the Berkeley Black Repertory Theatre. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mooney was born in Louisiana. In 2009, he told NPR he got his sense of humor from his grandmother. “My grandmother was very funny… She used to sleep with a hammer, you know. So she was a funny person,” he said.\u003c/p>\n\u003cp>In 2006, Mooney talked to NPR about his decision to stop using the “n” word in his stand-up. It happened after his friend, Seinfeld star Michael Richards, unleashed the word on a crowd of hecklers during a show. Mooney told NPR, “When I saw the video, I mean, I’m not easily shocked—I went into shock.” He went on to say, “I was outside of myself looking at me and looking at the word and it was such a weapon. It was such a nuclear – like it was a weapon. It was just – I don’t ever want anybody to have that power again.”\u003c/p>\n\u003cp>Mooney might not have been as famous as his friends and peers like Eddie Murphy and Dave Chappelle, but his influence on comedy runs deep. \u003c/p>\n\u003cp>Filmmaker Ava Duvernay called Mooney “a comedy giant.”\u003c/p>\n\u003cp>“I recall listening to his RACE album in college and how formative it was. Yeah, the jokes. But more so, the freedom. He spoke freely and fearlessly about feelings and experiences others found difficult to express. May he be truly free now. Rest, sir.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Reporting by Jake Coyle, Associated Press; Elizabeth Blair, NPR; and Gabe Meline, KQED.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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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=KQINC3382469601\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After winning an MTV reality TV show contest about a dozen years ago, \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> landed a gig at Rolling Stone. That was a crowning moment in her career as a journalist.\u003c/p>\n\u003cp>Since then, Rocky Rivera’s enjoyed a successful musical career and expanded her world as an educator in Oakland public schools. Most recently she published an autobiographical collection of essays, \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin, \u003c/em>\u003c/a>which takes a look back at her storied career and personal life.\u003c/p>\n\u003cp>Rocky Rivera, who was raised in San Francisco, uses the book to express the importance of restorative justice practices. Addressing conflict without using punitive models is something that works in the classroom and the community, as well as in art.\u003c/p>\n\u003cp>A major part of restorative justice is being accountable for past actions, and growing out of those behaviors in order to come anew. Rocky Rivera likens that process to a snake shedding its skin– it also parallels her process of going through a period of personal, artistic and spiritual growth. Thus, snakeskin is a multilayered term.\u003c/p>\n\u003cp>This week, I talk to Rocky Rivera about family, community, accountability and growth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13897105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/rocky-1-800x534.jpg\" alt=\"A close shot of Rocky Rivera's hands, holding a small snake.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A close shot of Rocky Rivera’s hands, holding a small snake. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Rocky Rivera.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Part of restorative justice is identifying when you’ve been wronged. A few of your essays point out unnamed people who have caused harm. They’re academics who used your labor for free, community members who made hollow promises and festival organizers who shortchanged you on performance time…. You were getting some heat off your chest. Bring me into your thinking behind those essays.\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: I feel like my story and my voice is all I really have, and when these people are in positions of power – which every single person that I called out was in a position of power – well then I have the right to speak on how that that power was either manipulated or abused or taken advantage of.\u003c/p>\n\u003cp>Rocky Rivera: In the academic system, there is this reliance on community artists to forever be available and expecting you to do things for free, for exposure and come to your class and talk about your work without any kind of pay. And that’s the exploitation in itself. Especially artists like me, women, Asian-American women who are forever expected to accommodate.\u003c/p>\n\u003cp>Rocky Rivera: It was restorative for me to speak on that because I wanna make sure that it doesn’t happen to any young folks or any people that are like me. It’s a cautionary tale.\u003c/p>\n\u003cp>\u003cem>Pen: I appreciate the fact that these shots at power holders are interspersed between essays where you’re acknowledging the powers that you had and where you failed to be responsible with your powers, almost apology pieces about some of your lyrics: Pop Killer, Brown Babies or even clarifying some of the lyrics that might have been misconstructed or misconstrued. So how does restorative justice apply to words?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: Oh, my gosh. Well, words are everything. Words are my business. There’s always a better word for something. But the reasons why we say things are really mired in how we were raised, our circumstances. So in these 10 years, I’ve turned from somebody who was a product of my environment, a product of my circumstances, to somebody who understands that I can influence my circumstances now because I’m in a position of power.\u003c/p>\n\u003cp>Rocky Rivera: And I’m trying to get to that point where I write really accurately and I do no harm. But in the past couple of years, I was careless and I had to address it because here’s the thing about restorative justice. You can’t expect somebody to be vulnerable, to be open, to make mistakes if you’re not willing to do that as well.\u003c/p>\n\u003cp>Rocky Rivera: I’m not going to be 100% woke. That’s not going to happen. I’m from the Bay. I listen to Too $hort. I listen to Keak Da Sneak. I’m just not gonna ever be 100% woke.\u003c/p>\n\u003cp>Rocky Rivera: The realness is that we are where we come from and until we can accept everything that we are, then we can never accept each other’s humanity. And I wanted to be the first to say I’ve made a mistake. I made a mistake and I learned from it. Thanks to my community, not despite my community.\u003c/p>\n\u003cp>Rocky Rivera: And consciousness and politicization is a journey….Really because the revolution starts at home. And I wanted to make myself an example.\u003c/p>\n\u003cp>\u003cem>Pen: The second essay in your book is about being an educator in Oakland, through working at the nonprofit Oakland Kids First– where we actually taught together. So, that line your book about remembering the smell of pizza in the classrooms really brought me back… In that essay, you also covered what restorative justice looks like in real time: getting and giving respect to students, creating safe spaces, changing campus culture through campaigns. Even the details of establishing the ground rules for RJ circles: “speak from the heart, listen from the heart, only talk when holding the talking piece,” … why did you choose to have that essay at the top of your book?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: A lot of my career has been based on controversial moments, moments where either I wrote something that I took back or I said something that made people feel uncomfortable. But if I had not learned about restorative justice, if I had not learned from those young people what it means to truly be in community, I probably would have quit the game a long time ago.\u003c/p>\n\u003cp>Rocky Rivera: They really humbled me when I organized kids in Oakland because they didn’t care if I interviewed Snoop. They didn’t care if I was on television. They weren’t even in 6th grade when that shit came out [laughs] ya know what i mean. They didn’t care.\u003c/p>\n\u003cp>Rocky: Ok, I think i’m a big M.C., this artist, this journalist who’s done all these things, but when it comes down to the classroom, none of that matters. It does not matter. All that matters is a connection I make with my students and whether or not I’m able to organize and politicize them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\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=KQINC3382469601\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After winning an MTV reality TV show contest about a dozen years ago, \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> landed a gig at Rolling Stone. That was a crowning moment in her career as a journalist.\u003c/p>\n\u003cp>Since then, Rocky Rivera’s enjoyed a successful musical career and expanded her world as an educator in Oakland public schools. Most recently she published an autobiographical collection of essays, \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin, \u003c/em>\u003c/a>which takes a look back at her storied career and personal life.\u003c/p>\n\u003cp>Rocky Rivera, who was raised in San Francisco, uses the book to express the importance of restorative justice practices. Addressing conflict without using punitive models is something that works in the classroom and the community, as well as in art.\u003c/p>\n\u003cp>A major part of restorative justice is being accountable for past actions, and growing out of those behaviors in order to come anew. Rocky Rivera likens that process to a snake shedding its skin– it also parallels her process of going through a period of personal, artistic and spiritual growth. Thus, snakeskin is a multilayered term.\u003c/p>\n\u003cp>This week, I talk to Rocky Rivera about family, community, accountability and growth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13897105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/rocky-1-800x534.jpg\" alt=\"A close shot of Rocky Rivera's hands, holding a small snake.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A close shot of Rocky Rivera’s hands, holding a small snake. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Rocky Rivera.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Part of restorative justice is identifying when you’ve been wronged. A few of your essays point out unnamed people who have caused harm. They’re academics who used your labor for free, community members who made hollow promises and festival organizers who shortchanged you on performance time…. You were getting some heat off your chest. Bring me into your thinking behind those essays.\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: I feel like my story and my voice is all I really have, and when these people are in positions of power – which every single person that I called out was in a position of power – well then I have the right to speak on how that that power was either manipulated or abused or taken advantage of.\u003c/p>\n\u003cp>Rocky Rivera: In the academic system, there is this reliance on community artists to forever be available and expecting you to do things for free, for exposure and come to your class and talk about your work without any kind of pay. And that’s the exploitation in itself. Especially artists like me, women, Asian-American women who are forever expected to accommodate.\u003c/p>\n\u003cp>Rocky Rivera: It was restorative for me to speak on that because I wanna make sure that it doesn’t happen to any young folks or any people that are like me. It’s a cautionary tale.\u003c/p>\n\u003cp>\u003cem>Pen: I appreciate the fact that these shots at power holders are interspersed between essays where you’re acknowledging the powers that you had and where you failed to be responsible with your powers, almost apology pieces about some of your lyrics: Pop Killer, Brown Babies or even clarifying some of the lyrics that might have been misconstructed or misconstrued. So how does restorative justice apply to words?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: Oh, my gosh. Well, words are everything. Words are my business. There’s always a better word for something. But the reasons why we say things are really mired in how we were raised, our circumstances. So in these 10 years, I’ve turned from somebody who was a product of my environment, a product of my circumstances, to somebody who understands that I can influence my circumstances now because I’m in a position of power.\u003c/p>\n\u003cp>Rocky Rivera: And I’m trying to get to that point where I write really accurately and I do no harm. But in the past couple of years, I was careless and I had to address it because here’s the thing about restorative justice. You can’t expect somebody to be vulnerable, to be open, to make mistakes if you’re not willing to do that as well.\u003c/p>\n\u003cp>Rocky Rivera: I’m not going to be 100% woke. That’s not going to happen. I’m from the Bay. I listen to Too $hort. I listen to Keak Da Sneak. I’m just not gonna ever be 100% woke.\u003c/p>\n\u003cp>Rocky Rivera: The realness is that we are where we come from and until we can accept everything that we are, then we can never accept each other’s humanity. And I wanted to be the first to say I’ve made a mistake. I made a mistake and I learned from it. Thanks to my community, not despite my community.\u003c/p>\n\u003cp>Rocky Rivera: And consciousness and politicization is a journey….Really because the revolution starts at home. And I wanted to make myself an example.\u003c/p>\n\u003cp>\u003cem>Pen: The second essay in your book is about being an educator in Oakland, through working at the nonprofit Oakland Kids First– where we actually taught together. So, that line your book about remembering the smell of pizza in the classrooms really brought me back… In that essay, you also covered what restorative justice looks like in real time: getting and giving respect to students, creating safe spaces, changing campus culture through campaigns. 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They didn’t care.\u003c/p>\n\u003cp>Rocky: Ok, I think i’m a big M.C., this artist, this journalist who’s done all these things, but when it comes down to the classroom, none of that matters. It does not matter. All that matters is a connection I make with my students and whether or not I’m able to organize and politicize them.\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": "Watch the First Trailer for ‘Blindspotting,’ Rafael Casal and Daveed Diggs’ TV Spin-Off",
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"content": "\u003cp>The first trailer for \u003cem>Blindspotting\u003c/em>’s TV spin-off just dropped—and this time the focus is female.\u003c/p>\n\u003cp>The new Starz series is, like the original, set in Oakland and co-written by Daveed Diggs and Rafael Casal. Unlike the 2018 movie, however, the eight-episode half-hour dramedy will be told from the perspective of Ashley (Jasmine Cephas Jones). The longtime partner of, and co-parent with Casal’s Miles is seen struggling to make it work after Miles is incarcerated.\u003c/p>\n\u003cp>[aside postid='arts_13837184']The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>You can see the trailer below.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fCtdIC666Ec\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first trailer for \u003cem>Blindspotting\u003c/em>’s TV spin-off just dropped—and this time the focus is female.\u003c/p>\n\u003cp>The new Starz series is, like the original, set in Oakland and co-written by Daveed Diggs and Rafael Casal. Unlike the 2018 movie, however, the eight-episode half-hour dramedy will be told from the perspective of Ashley (Jasmine Cephas Jones). The longtime partner of, and co-parent with Casal’s Miles is seen struggling to make it work after Miles is incarcerated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The trailer shows Ashley navigating her new life living with Miles’ mom (Helen Hunt) and sister (Jaylen Barron), working the front desk at the fancy Alcatraz Hotel, and supporting Miles in jail and in the courtroom. The show also clearly has surreal elements, with multiple spontaneous dance scenes—including one that breaks out inside a penitentiary waiting room. Diggs’ character Collin is conspicuously absent throughout.\u003c/p>\n\u003cp>“The Bay isn’t just in the backdrop,” \u003ca href=\"https://www.sfgate.com/sf-culture/article/Blindspotting-Rafael-Casal-TV-series-Starz-Oakland-15937028.php\" target=\"_blank\" rel=\"noopener noreferrer\">Casal told \u003cem>SFGate\u003c/em>\u003c/a> in February. “Like the movie, the Bay is in everything the show touches. So much of the clothing is sourced from local brands and the music is heavily sourced from Bay artists. It’s in the soundscapes, the dancing styles, the art on the walls. It’s all carefully curated to bring the Bay to the world.”\u003c/p>\n\u003cp>In addition to co-writing the series with Nijla Mu’min, Benjamin Earl Turner (who plays Earl), Alanna Brown, and Priscila García-Jacquier, Diggs and Casal are also executive producers. Casal is serving as showrunner and Jones is acting as producer. The series premieres on Sunday, June 13, on Starz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>You can see the trailer below.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/fCtdIC666Ec'\n title='//www.youtube.com/embed/fCtdIC666Ec'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"content": "\u003cp>To the members of \u003ca href=\"http://jaxtheband.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jax The Band\u003c/a>, sheltering in place during the pandemic was nothing out of the ordinary. The Haitian American family band, made up of three siblings, was already used to spending a lot of time together. As the rest of their peers struggled to adjust to online school and staying home, the Jackson siblings simply continued doing what they’ve always done: making music together.\u003c/p>\n\u003cp>“We were like, ‘Welcome to homeschool, everyone!’” recalls Sudan Jackson, the group’s 17-year-old guitarist and singer. \u003c/p>\n\u003cp>The band’s other two members are Aman Jackson, age 19, who plays the bass, sings, and raps, and Ayo Jackson, age 16, who plays the drums and sings. Together, they make up Jax The Band, blending hip-hop, soul and rock with influences from their own cultural roots of Haitian music. \u003c/p>\n\u003cp>https://youtu.be/dY8iLikhRIg\u003c/p>\n\u003cp>Jax The Band has already reached some impressive milestones, having shared stages with artists like Yo-Yo Ma and Jennifer Hudson and performed internationally well before the eldest of them graduated high school. Raised by a musician father and a professional dancer and artist mother, creativity was always inevitable in their household. “My dad is a multi-instrumentalist, composer, producer… he does everything. He is music, for real,” Aman explains. “He taught us a lot.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three used to dance together with their mother, who has been part of a Haitian dance company for as long as they can remember. One day in 2013, after a dance lesson that ended with a particularly raucous sibling dispute, their exasperated mother sent the three to the studio in the back of their house to go play music instead. \u003c/p>\n\u003cp>“From that day forth, there wasn’t really a big question about it,” says Sudan. “We just continued to play music together and we were Jax The Band. It was kind of made up in everyone’s minds before there was ever a discussion about it.”\u003c/p>\n\u003cp>“It just slowly got more serious, until it became super real,” adds Aman. \u003c/p>\n\u003cfigure id=\"attachment_13897042\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/JaxTheBand.Young_-800x275.jpg\" alt=\"Sudan, Ayo and Aman, in their younger days, performing as Jax the Band.\" width=\"800\" height=\"275\" class=\"size-medium wp-image-13897042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-800x275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-1020x351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-768x264.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-1536x528.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sudan, Ayo and Aman, in their younger days, performing as Jax the Band. \u003ccite>(Courtesy Jax the Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the pandemic made the siblings miss their friends, they found their unanticipated new free time had benefits as well. “We were already growing musically before, but when COVID hit it was almost like an incubator,” Ayo describes. “We were just working, working, working.” \u003c/p>\n\u003cp>They recorded their debut album, \u003cem>The Glo Up\u003c/em>, in early quarantine, and released the 10-track, 28-minute project last October. They also started a live at-home concert series, playing from their living room and livestreaming on Facebook and Instagram on the first Friday of every month from April to December of 2020. \u003c/p>\n\u003cp>The group also recently relocated to Los Angeles, where they’ll be based for the foreseeable future as they work on new music. Aside from an occasional trip out of town, they’ll be living in L.A. full-time—a change of pace for the Jacksons. \u003c/p>\n\u003cp>From 2015 to 2020, the family split their time between Oakland and Haiti, spending a few months on one side of the world and then a few months on the other. The length of their stays depended on how many shows they could book. “Sometimes it would be six months, sometimes it would be one month. You just never knew,” says Sudan.\u003c/p>\n\u003cfigure id=\"attachment_13897044\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Jax.Live_-800x830.jpg\" alt=\"Jax the Band performing live.\" width=\"600\" height=\"620\" class=\"size-medium wp-image-13897044\">\u003cfigcaption class=\"wp-caption-text\">Jax the Band, some years ago, performing live. \u003ccite>(Courtesy Jax the Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was actually born in Haiti,” Ayo adds. This unorthodox upbringing was one of several plus sides to homeschool. When they were younger, the siblings shared the classic fears of being excluded from the social life provided by traditional school. But eventually, they’d come to realize that the benefits of homeschool outweighed the costs. \u003c/p>\n\u003cp>“I’ll speak as the graduate,” says Aman with a laugh. “Once I got older and discovered my passion for music, being homeschooled meant I had so much time on my hands to pursue that. By the time I got to high school, I didn’t want to go to regular school at all.”\u003c/p>\n\u003cp>“I definitely still wish I had the social experience of going to traditional school, just to get to know more people my age… but I’m definitely grateful to have had the spare time to focus on music,” Sudan adds. “And I’ve never had to raise my hand to go to the bathroom!”\u003c/p>\n\u003cp>“That is a crazy concept to us,” Ayo laughs. \u003c/p>\n\u003cfigure id=\"attachment_13897038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/JaxtheBand-800x450.jpg\" alt=\"Siblings Aman Jackson, Sudan Jackson and Ayo Jackson (L–R) are Jax the Band, a trio with roots in both Haiti and Oakland.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13897038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand.jpg 1242w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Siblings Aman Jackson, Sudan Jackson and Ayo Jackson (L–R) are Jax the Band, a trio with roots in both Haiti and Oakland. \u003ccite>(Courtesy Jax the Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As accomplished as they already are, the three siblings are still at the beginning of their career. I ask them to go around and each tell me what success looks like to them. \u003c/p>\n\u003cp>“I want to tour the world,” says Sudan. “Success to me looks like making enough money from my art to be comfortable, and never have to worry about the number in my bank account… and having a career I can look back on and think, ‘I’m legitimately proud of that.’”\u003c/p>\n\u003cp>“I want to be able to \u003cem>just\u003c/em> work on music,” says Ayo. “That’s success to me, to be able to focus on making music and not have to worry about all of these other things that you have to do as an artist to support yourself or get your work out there.” \u003c/p>\n\u003cp>“I want to be able to take care of the people around me,” says Aman. “I imagine I’ll be holding a Grammy, or eight. I want to be working only when I want to and not because I have to, making music for fun and out of love.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re on our way there,” he adds with a smile. And after our conversation, I have no trouble believing him. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To the members of \u003ca href=\"http://jaxtheband.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Jax The Band\u003c/a>, sheltering in place during the pandemic was nothing out of the ordinary. The Haitian American family band, made up of three siblings, was already used to spending a lot of time together. As the rest of their peers struggled to adjust to online school and staying home, the Jackson siblings simply continued doing what they’ve always done: making music together.\u003c/p>\n\u003cp>“We were like, ‘Welcome to homeschool, everyone!’” recalls Sudan Jackson, the group’s 17-year-old guitarist and singer. \u003c/p>\n\u003cp>The band’s other two members are Aman Jackson, age 19, who plays the bass, sings, and raps, and Ayo Jackson, age 16, who plays the drums and sings. Together, they make up Jax The Band, blending hip-hop, soul and rock with influences from their own cultural roots of Haitian music. \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/dY8iLikhRIg'\n title='//www.youtube.com/embed/dY8iLikhRIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jax The Band has already reached some impressive milestones, having shared stages with artists like Yo-Yo Ma and Jennifer Hudson and performed internationally well before the eldest of them graduated high school. Raised by a musician father and a professional dancer and artist mother, creativity was always inevitable in their household. “My dad is a multi-instrumentalist, composer, producer… he does everything. He is music, for real,” Aman explains. “He taught us a lot.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three used to dance together with their mother, who has been part of a Haitian dance company for as long as they can remember. One day in 2013, after a dance lesson that ended with a particularly raucous sibling dispute, their exasperated mother sent the three to the studio in the back of their house to go play music instead. \u003c/p>\n\u003cp>“From that day forth, there wasn’t really a big question about it,” says Sudan. “We just continued to play music together and we were Jax The Band. It was kind of made up in everyone’s minds before there was ever a discussion about it.”\u003c/p>\n\u003cp>“It just slowly got more serious, until it became super real,” adds Aman. \u003c/p>\n\u003cfigure id=\"attachment_13897042\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/JaxTheBand.Young_-800x275.jpg\" alt=\"Sudan, Ayo and Aman, in their younger days, performing as Jax the Band.\" width=\"800\" height=\"275\" class=\"size-medium wp-image-13897042\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-800x275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-1020x351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-768x264.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_-1536x528.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxTheBand.Young_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sudan, Ayo and Aman, in their younger days, performing as Jax the Band. \u003ccite>(Courtesy Jax the Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although the pandemic made the siblings miss their friends, they found their unanticipated new free time had benefits as well. “We were already growing musically before, but when COVID hit it was almost like an incubator,” Ayo describes. “We were just working, working, working.” \u003c/p>\n\u003cp>They recorded their debut album, \u003cem>The Glo Up\u003c/em>, in early quarantine, and released the 10-track, 28-minute project last October. They also started a live at-home concert series, playing from their living room and livestreaming on Facebook and Instagram on the first Friday of every month from April to December of 2020. \u003c/p>\n\u003cp>The group also recently relocated to Los Angeles, where they’ll be based for the foreseeable future as they work on new music. Aside from an occasional trip out of town, they’ll be living in L.A. full-time—a change of pace for the Jacksons. \u003c/p>\n\u003cp>From 2015 to 2020, the family split their time between Oakland and Haiti, spending a few months on one side of the world and then a few months on the other. The length of their stays depended on how many shows they could book. “Sometimes it would be six months, sometimes it would be one month. You just never knew,” says Sudan.\u003c/p>\n\u003cfigure id=\"attachment_13897044\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/Jax.Live_-800x830.jpg\" alt=\"Jax the Band performing live.\" width=\"600\" height=\"620\" class=\"size-medium wp-image-13897044\">\u003cfigcaption class=\"wp-caption-text\">Jax the Band, some years ago, performing live. \u003ccite>(Courtesy Jax the Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was actually born in Haiti,” Ayo adds. This unorthodox upbringing was one of several plus sides to homeschool. When they were younger, the siblings shared the classic fears of being excluded from the social life provided by traditional school. But eventually, they’d come to realize that the benefits of homeschool outweighed the costs. \u003c/p>\n\u003cp>“I’ll speak as the graduate,” says Aman with a laugh. “Once I got older and discovered my passion for music, being homeschooled meant I had so much time on my hands to pursue that. By the time I got to high school, I didn’t want to go to regular school at all.”\u003c/p>\n\u003cp>“I definitely still wish I had the social experience of going to traditional school, just to get to know more people my age… but I’m definitely grateful to have had the spare time to focus on music,” Sudan adds. “And I’ve never had to raise my hand to go to the bathroom!”\u003c/p>\n\u003cp>“That is a crazy concept to us,” Ayo laughs. \u003c/p>\n\u003cfigure id=\"attachment_13897038\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/JaxtheBand-800x450.jpg\" alt=\"Siblings Aman Jackson, Sudan Jackson and Ayo Jackson (L–R) are Jax the Band, a trio with roots in both Haiti and Oakland.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13897038\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/JaxtheBand.jpg 1242w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Siblings Aman Jackson, Sudan Jackson and Ayo Jackson (L–R) are Jax the Band, a trio with roots in both Haiti and Oakland. \u003ccite>(Courtesy Jax the Band)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As accomplished as they already are, the three siblings are still at the beginning of their career. I ask them to go around and each tell me what success looks like to them. \u003c/p>\n\u003cp>“I want to tour the world,” says Sudan. “Success to me looks like making enough money from my art to be comfortable, and never have to worry about the number in my bank account… and having a career I can look back on and think, ‘I’m legitimately proud of that.’”\u003c/p>\n\u003cp>“I want to be able to \u003cem>just\u003c/em> work on music,” says Ayo. “That’s success to me, to be able to focus on making music and not have to worry about all of these other things that you have to do as an artist to support yourself or get your work out there.” \u003c/p>\n\u003cp>“I want to be able to take care of the people around me,” says Aman. “I imagine I’ll be holding a Grammy, or eight. I want to be working only when I want to and not because I have to, making music for fun and out of love.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re on our way there,” he adds with a smile. And after our conversation, I have no trouble believing him. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Disney+ has named Oakland native and screenwriter, poet, and playwright Chinaka Hodge as the head writer for its new \u003cem>Ironheart\u003c/em> series. Hodge was selected after pitching her vision for all six episodes of the show to Marvel. The writer’s room will open in May. \u003c/p>\n\u003cp>Born and raised in Oakland, Hodge graduated from New York University’s Gallatin School of Individualized Study in May of 2006. She has written multiple plays, including \u003cem>Mirrors in Every Corner\u003c/em> and \u003cem>Chasing Mehserle\u003c/em>, as well as two books, \u003cem>For Girls With Hips: Collected Poems and Writings\u003c/em> and \u003cem>Dated Emcees\u003c/em>. Her past writing credits include the TNT series adaptation of \u003cem>Snowpiercer\u003c/em> starring her friend, longtime collaborator, and fellow Oakland native Daveed Diggs, as well as the Apple reboot of \u003cem>Amazing Stories\u003c/em>. \u003c/p>\n\u003cp>[aside postID='arts_13798311']Hodge previously partnered with Shang-Chi and \u003cem>Legend of the Ten Rings\u003c/em> director Destin Daniel Cretton and \u003cem>Black Panther\u003c/em> director Ryan Coogler to develop the television drama series \u003cem>Minors\u003c/em>, which draws on Coogler and Hodge’s experiences growing up in the Bay and working with underserved youth. \u003c/p>\n\u003cp>Dominique Thorne will star in \u003cem>Ironheart\u003c/em> as Marvel character Riri Williams, an inventive 15-year-old MIT student who reverse-engineers Iron Man’s armor to create her own suit. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Disney+ has named Oakland native and screenwriter, poet, and playwright Chinaka Hodge as the head writer for its new \u003cem>Ironheart\u003c/em> series. Hodge was selected after pitching her vision for all six episodes of the show to Marvel. The writer’s room will open in May. \u003c/p>\n\u003cp>Born and raised in Oakland, Hodge graduated from New York University’s Gallatin School of Individualized Study in May of 2006. She has written multiple plays, including \u003cem>Mirrors in Every Corner\u003c/em> and \u003cem>Chasing Mehserle\u003c/em>, as well as two books, \u003cem>For Girls With Hips: Collected Poems and Writings\u003c/em> and \u003cem>Dated Emcees\u003c/em>. Her past writing credits include the TNT series adaptation of \u003cem>Snowpiercer\u003c/em> starring her friend, longtime collaborator, and fellow Oakland native Daveed Diggs, as well as the Apple reboot of \u003cem>Amazing Stories\u003c/em>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Hodge previously partnered with Shang-Chi and \u003cem>Legend of the Ten Rings\u003c/em> director Destin Daniel Cretton and \u003cem>Black Panther\u003c/em> director Ryan Coogler to develop the television drama series \u003cem>Minors\u003c/em>, which draws on Coogler and Hodge’s experiences growing up in the Bay and working with underserved youth. \u003c/p>\n\u003cp>Dominique Thorne will star in \u003cem>Ironheart\u003c/em> as Marvel character Riri Williams, an inventive 15-year-old MIT student who reverse-engineers Iron Man’s armor to create her own suit. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Fruitvale's Ruby Q Smoke Fusion Slings Barbecue Inspired by Mexico and Louisiana",
"headTitle": "Fruitvale’s Ruby Q Smoke Fusion Slings Barbecue Inspired by Mexico and Louisiana | KQED",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]I[/dropcap]f I’m being honest, the East Bay doesn’t have enough barbecue. There’s only a handful of small, family-owned joints around here—and I support them when I can. So, when a local friend told me about \u003ca href=\"https://rubyqsmokefusion.com/\">Ruby Q Smoke Fusion\u003c/a>, a new barbecue spot in East Oakland, I made sure to check it out. I was extra hyped when I found out that it was run by a young married couple from the area, Reuben Mcelligott and Edlyn Rodriguez.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s called fusion for a reason. I mean, look at the neighborhood we’re at and who we serve,” Rodriguez says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She’s talking about Fruitvale, where you’ll find some of the \u003ca href=\"https://www.kqed.org/bayareabites/135813/5-food-trucks-that-put-regional-mexican-plates-on-the-map\">best taco trucks anywhere on the entire West Coast\u003c/a>. The daughter of Mexican immigrants from Jalisco, Rodriguez knows the inside of a kitchen, having learned from her mother. But Ruby Q doesn’t serve traditional Mexican fare. Instead, it’s a fusion of Rodriguez’s culinary heritage combined with her husband’s family trade: Southern-style smoked and grilled meats. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896416\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13896416 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/RubyQ_barbecue-800x1200.jpg\" alt=\"Takeout containers of barbecue and mac and cheese on a picnic table.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ribs, brisket, and mac and cheese. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant opened in June 2020, at the height of the pandemic, but with Rodriguez and Mcelligott’s dedication to serving great food while representing their cultures, it has flourished in a much-needed way. Though he jokes that his name sounds “white” because of his Irish grandfather, Mcelligott is a millennial Black dude who was raised around the corner. He was a 90s kid who never fully fit into any box and enjoyed skating, sports and hip hop—all elements that are on display on the restaurant’s walls.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More importantly, the space is a homage to Mcelligott’s mother’s family, who first started their barbecue business in Louisiana in the early 1900s, and whose influence can still be felt and tasted over a century later. “We use the family recipe from back then for our barbecue sauce. It’s something my family has been doing for as long as I know,” he explains. \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Mcelligott and Rodriguez are proud of their family’s legacies, and together, they’ve launched a dynamic and affordable culinary outlet that reflects where each of them come from—in a city known for its eclectic spirit of diversity and newness. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]S[/dropcap]o what exactly do American barbecue and Mexican food look like when they’re combined together? Try Ruby Q’s barbecue brisket quesadilla—a soft, warm and decadently cheesy mixture of avocado, queso Mexicano, pico de gallo and, of course, a mound of lightly crisped, not-too-tangy brisket inside the gooey middle. You get a taste of both cultures in each mouthful. As a Mexican American from the Bay, I can honestly say it’s the most flavorful (and filling) quesadilla I’ve ever eaten. Sorry, abuelita. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/RubyQ_quesadilla-800x533.jpg\" alt=\"A fried quesadilla topped with sour cream, guacamole, and pico de gallo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The barbecue brisket quesadilla is one of the highlights. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A single quesadilla could easily be your entire meal. But this is barbecue, so you’ll have to toss in a side of pulled pork nachos to go with that. Though I’ve eaten nacho remixes like this before, this version was on another level: the perfect combination of fresh tortilla chips, homemade guacamole, cheese, and juicy, fall-apart-on-your-fork pork that has been slow-cooked for hours. If that’s not your style, try the Louisiana gumbo with sausage that is “smoked while you sleep”—a nod to Mcelligott’s Cajun roots—which isn’t commonly offered in traditional barbecue settings. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside tag='barbecue' label='More Barbecue']However, the Ruby Q experience goes beyond its culinary heritage. The entire time I was there, the spot was hella active with locals. It’s a homey environment where the entire neighborhood converges, literally, to get a taste. Located at the chaotic intersection of Fruitvale Avenue and San Leandro Street, the restaurant is tucked in between an industrial railroad crossing, a busy highway overpass, a bustling BART station, and two Mexican restaurants. It’s surprisingly easy to miss. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But if you close your eyes and inhale, you’ll only smell one thing: racks of meat being smoked daily. Follow that scent, and you’ll see why everyone is lining up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During my recent weeknight visit, I noticed an Asian family, a group of middle-aged Black women, a Mexican couple, teenage Pacific Islanders, and a squad of white city cowboys wearing their hats, boots and belt buckles. Everyone was enjoying the warm backdoor patio and the Mexican music from the bar next door, all while grubbing on group-sized portions of barbecued goodness. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was so busy that I felt guilty for interrupting the husband-and-wife team to ask questions, since they were the sole employees running the show. They even had two of their kids with them that day, who were reading and had built a fort in the corner. But like true Bay Area hustlers, the family made it look as effortless as a Steph Curry three-pointer in the 4th quarter. That’s because for Mcelligott, struggle and sacrifice are nothing new.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I put everything into this. Did you see the billboard on 880 in front of the Coliseum? I put that up because I wanted everyone in my family to see what I was doing for us,” he says, referencing the massive advertisement he purchased when Ruby Q first opened. “Everybody can see that.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896428\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/RubyQ_window-800x533.jpg\" alt='Writing in the restaurant window reads, \"Seafood Gumbo,\" \"Loaded Nachos,\" \"Smoked While You Sleep,\" \"BBQ,\" and \"Open Patio.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant’s window advertises barbecue “smoked while you sleep.” \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]M[/dropcap]celligott’s vision began when he was a teenager growing up in East Oakland. His parents would send him to stay with his relatives in South Lake Tahoe every summer because he would “get into too much trouble” in his neighborhood. It was during those summer months away from the Bay that Mcelligott learned first-hand about his family’s barbecue business. Each year, he’d spend time working for his uncle, who ran Womack’s BBQ for over 40 years. But it was Mcelligott’s grandpa who opened the place in 1979 after helping to launch one of San Francisco’s most iconic barbecue restaurants, \u003ca href=\"http://newfillmore.com/fillmore-classics/leon-was-the-king-of-barbecue/\">Leon’s, in the Fillmore District\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between learning how to prepare chicken from expert grill masters, picking out the right types of wood to burn to get that variety of layered, smoky flavors, marinating ribs all day, and also regularly interacting with customers, Mcelligott began to steep himself in the saucy world of barbecue—then eventually added his own flair to the fire.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Working in restaurants was a switch for Mcelligott, who had spent most of his youth playing baseball and other sports. He held onto hopes of going professional until he was diagnosed with Hodgkin’s lymphoma in 2012, forcing him to give up sports at age 23. After six months of chemotherapy, Mcelligott overcame his illness. Rather than being discouraged, he shifted toward a career in his other life’s passion: barbecue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mcelligott knew he wanted to do something positive for himself—and for his family and community—and after enrolling in Le Cordón Bleu at San Francisco, his hope of bringing a family restaurant to Oakland became a reality.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this point in our meal, I’d eaten through a delectable portion of mac and cheese, candied beans, a rack of soft ribs, more pulled pork, and everyone’s favorite, a quarter-pound of tender brisket. Between me and a small group of hungry friends, we couldn’t finish it all—which is impressive, considering the relatively low price we paid.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/RubyQ_Reuben-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Decorations reflect Mcelligott’s love of sports, skating and hip hop. Rodriguez, his wife, was too busy to be photographed. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mcelligott was energetic and upbeat after an entire day’s shift, and throughout our conversation, he was all smiles and laughs. His spirit is radiant and genuinely soulful, like the playfully-decorated walls of his restaurant and the creative family recipes he uses. “This is everything I love,” Mcelligott says. His kids interrupt us with jokes, and he picks up the smallest one. I feel like a longtime friend visiting his home.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though it wasn’t easy to launch a restaurant amidst a pandemic, Mcelligott tells me, business has been going well, and he and Rodriguez don’t foresee any slow-down. With its mixture of original barbecue recipes, Mexican fusion, Southern hospitality and a vibrant Bay Area energy that reflects the spirit of the neighborhood, Ruby Q Smoke Fusion is more than a place to get your favorite half-rack of ribs and homemade peach cobbler. It’s a place where you will find East Oakland still sustaining itself, and where you know you’ll be welcomed no matter what time it is, even when there is no food left to serve that day because it’s already been eaten.\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>\u003ca href=\"https://rubyqsmokefusion.com/\">Ruby Q Smoke Fusion\u003c/a> is open at 954 Fruitvale Blvd. in Oakland Wednesday through Saturday, noon–8pm, and Sunday, 1–8pm.\u003c/em>\u003c/p>\n\n",
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"excerpt": "What do you get when you combine traditional Mexican cooking with Southern-style barbecue?",
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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\">I\u003c/span>\u003c/p>\u003cp>f I’m being honest, the East Bay doesn’t have enough barbecue. There’s only a handful of small, family-owned joints around here—and I support them when I can. So, when a local friend told me about \u003ca href=\"https://rubyqsmokefusion.com/\">Ruby Q Smoke Fusion\u003c/a>, a new barbecue spot in East Oakland, I made sure to check it out. I was extra hyped when I found out that it was run by a young married couple from the area, Reuben Mcelligott and Edlyn Rodriguez.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“It’s called fusion for a reason. I mean, look at the neighborhood we’re at and who we serve,” Rodriguez says. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">She’s talking about Fruitvale, where you’ll find some of the \u003ca href=\"https://www.kqed.org/bayareabites/135813/5-food-trucks-that-put-regional-mexican-plates-on-the-map\">best taco trucks anywhere on the entire West Coast\u003c/a>. The daughter of Mexican immigrants from Jalisco, Rodriguez knows the inside of a kitchen, having learned from her mother. But Ruby Q doesn’t serve traditional Mexican fare. Instead, it’s a fusion of Rodriguez’s culinary heritage combined with her husband’s family trade: Southern-style smoked and grilled meats. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896416\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13896416 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/RubyQ_barbecue-800x1200.jpg\" alt=\"Takeout containers of barbecue and mac and cheese on a picnic table.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_barbecue-scaled.jpg 1707w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ribs, brisket, and mac and cheese. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">The restaurant opened in June 2020, at the height of the pandemic, but with Rodriguez and Mcelligott’s dedication to serving great food while representing their cultures, it has flourished in a much-needed way. Though he jokes that his name sounds “white” because of his Irish grandfather, Mcelligott is a millennial Black dude who was raised around the corner. He was a 90s kid who never fully fit into any box and enjoyed skating, sports and hip hop—all elements that are on display on the restaurant’s walls.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More importantly, the space is a homage to Mcelligott’s mother’s family, who first started their barbecue business in Louisiana in the early 1900s, and whose influence can still be felt and tasted over a century later. “We use the family recipe from back then for our barbecue sauce. It’s something my family has been doing for as long as I know,” he explains. \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\">Both Mcelligott and Rodriguez are proud of their family’s legacies, and together, they’ve launched a dynamic and affordable culinary outlet that reflects where each of them come from—in a city known for its eclectic spirit of diversity and newness. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">S\u003c/span>\u003c/p>\u003cp>o what exactly do American barbecue and Mexican food look like when they’re combined together? Try Ruby Q’s barbecue brisket quesadilla—a soft, warm and decadently cheesy mixture of avocado, queso Mexicano, pico de gallo and, of course, a mound of lightly crisped, not-too-tangy brisket inside the gooey middle. You get a taste of both cultures in each mouthful. As a Mexican American from the Bay, I can honestly say it’s the most flavorful (and filling) quesadilla I’ve ever eaten. Sorry, abuelita. \u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896418\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896418\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/RubyQ_quesadilla-800x533.jpg\" alt=\"A fried quesadilla topped with sour cream, guacamole, and pico de gallo.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_quesadilla-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The barbecue brisket quesadilla is one of the highlights. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">A single quesadilla could easily be your entire meal. But this is barbecue, so you’ll have to toss in a side of pulled pork nachos to go with that. Though I’ve eaten nacho remixes like this before, this version was on another level: the perfect combination of fresh tortilla chips, homemade guacamole, cheese, and juicy, fall-apart-on-your-fork pork that has been slow-cooked for hours. If that’s not your style, try the Louisiana gumbo with sausage that is “smoked while you sleep”—a nod to Mcelligott’s Cajun roots—which isn’t commonly offered in traditional barbecue settings. \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>However, the Ruby Q experience goes beyond its culinary heritage. The entire time I was there, the spot was hella active with locals. It’s a homey environment where the entire neighborhood converges, literally, to get a taste. Located at the chaotic intersection of Fruitvale Avenue and San Leandro Street, the restaurant is tucked in between an industrial railroad crossing, a busy highway overpass, a bustling BART station, and two Mexican restaurants. It’s surprisingly easy to miss. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But if you close your eyes and inhale, you’ll only smell one thing: racks of meat being smoked daily. Follow that scent, and you’ll see why everyone is lining up.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">During my recent weeknight visit, I noticed an Asian family, a group of middle-aged Black women, a Mexican couple, teenage Pacific Islanders, and a squad of white city cowboys wearing their hats, boots and belt buckles. Everyone was enjoying the warm backdoor patio and the Mexican music from the bar next door, all while grubbing on group-sized portions of barbecued goodness. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It was so busy that I felt guilty for interrupting the husband-and-wife team to ask questions, since they were the sole employees running the show. They even had two of their kids with them that day, who were reading and had built a fort in the corner. But like true Bay Area hustlers, the family made it look as effortless as a Steph Curry three-pointer in the 4th quarter. That’s because for Mcelligott, struggle and sacrifice are nothing new.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“I put everything into this. Did you see the billboard on 880 in front of the Coliseum? I put that up because I wanted everyone in my family to see what I was doing for us,” he says, referencing the massive advertisement he purchased when Ruby Q first opened. “Everybody can see that.”\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896428\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896428\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/RubyQ_window-800x533.jpg\" alt='Writing in the restaurant window reads, \"Seafood Gumbo,\" \"Loaded Nachos,\" \"Smoked While You Sleep,\" \"BBQ,\" and \"Open Patio.\"' width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_window-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The restaurant’s window advertises barbecue “smoked while you sleep.” \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>celligott’s vision began when he was a teenager growing up in East Oakland. His parents would send him to stay with his relatives in South Lake Tahoe every summer because he would “get into too much trouble” in his neighborhood. It was during those summer months away from the Bay that Mcelligott learned first-hand about his family’s barbecue business. Each year, he’d spend time working for his uncle, who ran Womack’s BBQ for over 40 years. But it was Mcelligott’s grandpa who opened the place in 1979 after helping to launch one of San Francisco’s most iconic barbecue restaurants, \u003ca href=\"http://newfillmore.com/fillmore-classics/leon-was-the-king-of-barbecue/\">Leon’s, in the Fillmore District\u003c/a>.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Between learning how to prepare chicken from expert grill masters, picking out the right types of wood to burn to get that variety of layered, smoky flavors, marinating ribs all day, and also regularly interacting with customers, Mcelligott began to steep himself in the saucy world of barbecue—then eventually added his own flair to the fire.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Working in restaurants was a switch for Mcelligott, who had spent most of his youth playing baseball and other sports. He held onto hopes of going professional until he was diagnosed with Hodgkin’s lymphoma in 2012, forcing him to give up sports at age 23. After six months of chemotherapy, Mcelligott overcame his illness. Rather than being discouraged, he shifted toward a career in his other life’s passion: barbecue.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mcelligott knew he wanted to do something positive for himself—and for his family and community—and after enrolling in Le Cordón Bleu at San Francisco, his hope of bringing a family restaurant to Oakland became a reality.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">At this point in our meal, I’d eaten through a delectable portion of mac and cheese, candied beans, a rack of soft ribs, more pulled pork, and everyone’s favorite, a quarter-pound of tender brisket. Between me and a small group of hungry friends, we couldn’t finish it all—which is impressive, considering the relatively low price we paid.\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13896424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896424\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/RubyQ_Reuben-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/RubyQ_Reuben-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Decorations reflect Mcelligott’s love of sports, skating and hip hop. Rodriguez, his wife, was too busy to be photographed. \u003ccite>(Briana Chazaro)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Mcelligott was energetic and upbeat after an entire day’s shift, and throughout our conversation, he was all smiles and laughs. His spirit is radiant and genuinely soulful, like the playfully-decorated walls of his restaurant and the creative family recipes he uses. “This is everything I love,” Mcelligott says. His kids interrupt us with jokes, and he picks up the smallest one. I feel like a longtime friend visiting his home.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Though it wasn’t easy to launch a restaurant amidst a pandemic, Mcelligott tells me, business has been going well, and he and Rodriguez don’t foresee any slow-down. With its mixture of original barbecue recipes, Mexican fusion, Southern hospitality and a vibrant Bay Area energy that reflects the spirit of the neighborhood, Ruby Q Smoke Fusion is more than a place to get your favorite half-rack of ribs and homemade peach cobbler. It’s a place where you will find East Oakland still sustaining itself, and where you know you’ll be welcomed no matter what time it is, even when there is no food left to serve that day because it’s already been eaten.\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>\u003ca href=\"https://rubyqsmokefusion.com/\">Ruby Q Smoke Fusion\u003c/a> is open at 954 Fruitvale Blvd. in Oakland Wednesday through Saturday, noon–8pm, and Sunday, 1–8pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Digital Underground's Shock G, an Oakland Hip-Hop Icon, Dies at 57",
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"content": "\u003cp>Shock G, the flamboyant, funny rap artist who brought Oakland hip-hop to a worldwide audience with the group Digital Underground, died Thursday at age 57, according to Digital Underground co-founder \u003ca href=\"https://www.instagram.com/p/CN_QDs7sayF/\" rel=\"noopener noreferrer\" target=\"_blank\">Chopmaster J\u003c/a>. \u003c/p>\n\u003cp>The cause of death is unknown. According to \u003ca href=\"https://www.tmz.com/2021/04/22/shock-g-dead-dies-digital-underground-humpty-dance-tupac/\" rel=\"noopener noreferrer\" target=\"_blank\">TMZ\u003c/a>, Shock G was found dead in a hotel room in Tampa, with no signs of trauma.\u003c/p>\n\u003cp>https://www.instagram.com/p/CN_QDs7sayF/\u003c/p>\n\u003cp>Shock G, born Greg Jacobs, was best-known for his work with Digital Underground, most notably the worldwide smash “The Humpty Dance,” released in 1990. Carried by Jacobs’ large-nosed persona, the song brought a swampy West Coast funk and dozens of comic one-liners to the national airwaves. The “Humpty Dance” video, filmed at Club Townsend in San Francisco, played in heavy rotation on MTV and VH1 for months during the cable networks’ heyday. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PBsjggc5jHM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A talented pianist and visual artist who illustrated much of Digital Underground’s album art, Jacobs also helped introduce the world to Tupac Shakur, who was an early member of Digital Underground, and whose debut album \u003cem>2Pacalypse Now\u003c/em> he co-produced. Shakur remarked in a 1995 interview that he looked back on his time alongside Shock G and Digital Underground “with the greatest fondness. Those were like, some of the best times of my life.”\u003c/p>\n\u003cfigure id=\"attachment_13896267\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg\" alt=\"The cover of The HUmpty Dance single\" width=\"600\" height=\"600\" class=\"size-full wp-image-13896267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Shock G’s cartoony illustrations laced Digital Underground’s album covers and inserts. \u003ccite>(Tommy Boy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs’ production credits, guest appearances and solo work continued long after the success of \u003cem>Sex Packets\u003c/em>, Digital Underground’s best-selling album. He appeared on the all-star remix of the Luniz’ “I Got 5 on It” with \u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">a who’s-who of Bay Area rap\u003c/a>, and produced songs for Mac Mall, Saafir and KRS-One. In 1998, Prince included his \u003ca href=\"https://www.youtube.com/watch?v=1vw9GqiAOv8\" rel=\"noopener noreferrer\" target=\"_blank\">remix\u003c/a> of “Love Sign” on his 1994 release \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Crystal_Ball_(box_set)\" rel=\"noopener noreferrer\" target=\"_blank\">Crystal Ball\u003c/a>\u003c/em>. Jacobs also toured with Parliament’s George Clinton, and performed in small clubs around the country as a solo artist. \u003c/p>\n\u003cp>Reaction to the news of Shock G’s death was swift:\u003c/p>\n\u003cp>https://twitter.com/E40/status/1385419121198702593\u003c/p>\n\u003cp>https://twitter.com/Bootsy_Collins/status/1385409370532548609\u003c/p>\n\u003cp>https://twitter.com/SheilaEdrummer/status/1385415157178765317\u003c/p>\n\u003cp>https://twitter.com/JheneAiko/status/1385414176944779264\u003c/p>\n\u003cp>https://www.instagram.com/p/CN_V-xMHPPM/\u003c/p>\n\u003cp>https://twitter.com/Passionweiss/status/1385397407437914114\u003c/p>\n\u003cp>https://twitter.com/2PAC/status/1385407941495300102\u003c/p>\n\u003cp>https://twitter.com/harikondabolu/status/1385416577668063239\u003c/p>\n\u003cp>https://twitter.com/fakeshoredrive/status/1385394592795742208\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/danamo/status/1385406865463414787\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A talented pianist and visual artist who illustrated much of Digital Underground’s album art, Jacobs also helped introduce the world to Tupac Shakur, who was an early member of Digital Underground, and whose debut album \u003cem>2Pacalypse Now\u003c/em> he co-produced. Shakur remarked in a 1995 interview that he looked back on his time alongside Shock G and Digital Underground “with the greatest fondness. Those were like, some of the best times of my life.”\u003c/p>\n\u003cfigure id=\"attachment_13896267\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg\" alt=\"The cover of The HUmpty Dance single\" width=\"600\" height=\"600\" class=\"size-full wp-image-13896267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/R-42681-1333303548.jpeg-160x160.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Shock G’s cartoony illustrations laced Digital Underground’s album covers and inserts. \u003ccite>(Tommy Boy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jacobs’ production credits, guest appearances and solo work continued long after the success of \u003cem>Sex Packets\u003c/em>, Digital Underground’s best-selling album. He appeared on the all-star remix of the Luniz’ “I Got 5 on It” with \u003ca href=\"https://www.youtube.com/watch?v=CiZ3XtGtmQs\" rel=\"noopener noreferrer\" target=\"_blank\">a who’s-who of Bay Area rap\u003c/a>, and produced songs for Mac Mall, Saafir and KRS-One. In 1998, Prince included his \u003ca href=\"https://www.youtube.com/watch?v=1vw9GqiAOv8\" rel=\"noopener noreferrer\" target=\"_blank\">remix\u003c/a> of “Love Sign” on his 1994 release \u003cem>\u003ca href=\"https://en.wikipedia.org/wiki/Crystal_Ball_(box_set)\" rel=\"noopener noreferrer\" target=\"_blank\">Crystal Ball\u003c/a>\u003c/em>. Jacobs also toured with Parliament’s George Clinton, and performed in small clubs around the country as a solo artist. \u003c/p>\n\u003cp>Reaction to the news of Shock G’s death was swift:\u003c/p>\u003c/p>\u003c/div>",
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"title": "Low Bar, Oakland’s New Chicano Bar, Takes Off After a Yearlong Delay",
"headTitle": "Low Bar, Oakland’s New Chicano Bar, Takes Off After a Yearlong Delay | KQED",
"content": "\u003cp>When Matthew Meyer and Daniel Paez first announced their plans for \u003ca href=\"https://www.lowbaroakland.com/\">Low Bar\u003c/a> early last year, the Chicano-owned bar was hailed as part of \u003ca href=\"https://sf.eater.com/21311059/oakland-black-latinx-bipoc-bars-sobre-mesa-low-bar-oeste-pican\">a new wave of craft cocktail bars\u003c/a> in Oakland that centered the experiences of people of color. Then, of course, the pandemic hit, and everything ground to a halt. Low Bar was one of countless local watering holes that either shut down entirely or had their openings placed in protracted limbo.\u003c/p>\n\u003cp>Happy news, then, for those who have been waiting: About a month ago, Low Bar quietly opened at 2300 Webster Street (the former Hawker Fare space) with both food and cocktail menus that proudly reflect the owners’ Mexican American backgrounds: quesabirria tacos, plenty of creative agave cocktails, and an ingenious Mexican twist on a Scotch egg. For now, the bar is open Thursday through Sunday for both indoor and outdoor service.\u003c/p>\n\u003cp>“I feel like COVID obviously put a huge damper and was a momentum buster for everyone,” says Meyer. “But if you’re asking if bars owned by people of color are going to slow down: Absolutely not. As a Chicano, I’ve never been more proud.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13896245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/lowbar_neon-800x416.jpg\" alt='Three cocktails glow red in front of a neon sign that reads \"Low Bar.\"' width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/lowbar_neon-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/lowbar_neon-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/lowbar_neon-768x400.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/lowbar_neon.jpg 890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If there was a time when Oakland’s booming bar scene was regarded as \u003ca href=\"https://eastbayexpress.com/oaklands-dive-bar-aficionados-adapt-to-the-citys-changing-bar-scene-2-1/\">the purview of white hipsters\u003c/a>, by early last year that characterization had increasingly started to feel like it no longer applied. As \u003ca href=\"https://sf.eater.com/21311059/oakland-black-latinx-bipoc-bars-sobre-mesa-low-bar-oeste-pican\">Eater SF\u003c/a> first noted, within a span of a few months, several prominent, upscale-ish, POC-owned spots opened with diverse staffing and serious cocktail programs that reflected their owners’ cultural backgrounds—and all within a few city blocks. Before COVID hit, \u003ca href=\"https://sf.eater.com/2020/2/3/21119819/viridian-uptown-oakland-bar-cocktails-desserts-asian-photos\">Viridian was trumpeting its uniquely Asian American identity\u003c/a> as a cocktail bar, slinging Portuguese egg tarts and sublime drinks inspired by Chinese-American dishes like a tomato beef stir-fry. And \u003ca href=\"https://www.kqed.org/bayareabites/136410/sobre-mesa-brings-afro-caribbean-cocktails-and-light-bites-to-oakland\">Sobre Mesa had a whole Afro-Latino lounge vibe going\u003c/a>, with a deep rum lineup and a small plates menu that drew inspiration from across the African diaspora.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='bayareabites_136410' label='Also on the Bar Front']Both of those bars are back up and running now that COVID-related restrictions have started to loosen. For Low Bar, the past year has mostly been a matter of survival, Meyer explains. Investors pulled out, and, unable to finish the build-out of the bar, Meyer and Paez had to pivot to doing a burrito and tamale pop-up called \u003ca href=\"https://www.instagram.com/chanchos_oakland/?hl=en\">Chancho’s\u003c/a> just to keep some revenue coming in. In fact, Meyer says, it was Chancho’s partnership with \u003ca href=\"https://wck.org/\">World Central Kitchen\u003c/a>, celebrity chef José Andrés’ disaster relief organization, that ultimately saved them, paying Chancho’s to provide meals for people in need during the pandemic. “We haven’t missed a single week since July,” Meyer says.\u003c/p>\n\u003cp>As POC-owned, POC-focused craft cocktail bars have become more normalized in Oakland, it’s allowed folks like Meyer and Paez to be a little bit more expansive in the way they define what it means to be, say, a “Chicano bar.” For Meyer, who is Low Bar’s chef, that means he’s put together a \u003ca href=\"https://www.lowbaroakland.com/menus\">food menu\u003c/a> that’s a little less traditional than the old-school burritos and tamales he was serving through Chancho’s. He describes it as “Mexican-ish American bar food,” heavily influenced by his own upbringing near the border of San Diego and Tijuana. Yes, he makes a version of quesabirria, the cheesy birria tacos that are easily \u003ca href=\"https://sf.eater.com/2019/11/21/20937687/el-garage-quesabirria-birria-taco-richmond-instagram\">Tijuana’s most famous culinary export of the moment\u003c/a>. But he also serves a number of dishes that are reflective of the border city’s vibrant fusion food scene: a cheeseburger with salsa verde and, perhaps most notably, a play on a Scotch egg that consists of chorizo coated in ground-up tortilla chips before it gets deep-fried.\u003c/p>\n\u003cp>https://www.instagram.com/p/COA5hbDhQQp/\u003c/p>\n\u003cp>As Paez puts it, “The concept of Mexican food is no longer defined by just a taqueria.”\u003c/p>\n\u003cp>On the cocktail front, Paez describes his approach as “low pressure, low stakes, high reward,” with a strong emphasis on all the classics—your negronis and old fashioneds and daiquiris—but also plenty of creative agave and tequila drinks, as befits a Chicano bar.\u003c/p>\n\u003cp>According to Meyer and Paez, if anything has changed in the past five or 10 years, it’s that bar and restaurant patrons in the Bay Area are now actively seeking out different kinds of cultural experiences. “People are more excited about trying new flavors and traditional dishes from people’s backgrounds,” Meyer says. “I’m thrilled to be a part of it.”\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>\u003ci>Low Bar is open for both indoor and outdoor dining and drinking at 2300 Webster Street, Thursday through Sunday from 3–10pm.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Matthew Meyer and Daniel Paez first announced their plans for \u003ca href=\"https://www.lowbaroakland.com/\">Low Bar\u003c/a> early last year, the Chicano-owned bar was hailed as part of \u003ca href=\"https://sf.eater.com/21311059/oakland-black-latinx-bipoc-bars-sobre-mesa-low-bar-oeste-pican\">a new wave of craft cocktail bars\u003c/a> in Oakland that centered the experiences of people of color. Then, of course, the pandemic hit, and everything ground to a halt. Low Bar was one of countless local watering holes that either shut down entirely or had their openings placed in protracted limbo.\u003c/p>\n\u003cp>Happy news, then, for those who have been waiting: About a month ago, Low Bar quietly opened at 2300 Webster Street (the former Hawker Fare space) with both food and cocktail menus that proudly reflect the owners’ Mexican American backgrounds: quesabirria tacos, plenty of creative agave cocktails, and an ingenious Mexican twist on a Scotch egg. For now, the bar is open Thursday through Sunday for both indoor and outdoor service.\u003c/p>\n\u003cp>“I feel like COVID obviously put a huge damper and was a momentum buster for everyone,” says Meyer. “But if you’re asking if bars owned by people of color are going to slow down: Absolutely not. As a Chicano, I’ve never been more proud.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13896245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/lowbar_neon-800x416.jpg\" alt='Three cocktails glow red in front of a neon sign that reads \"Low Bar.\"' width=\"800\" height=\"416\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/lowbar_neon-800x416.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/lowbar_neon-160x83.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/lowbar_neon-768x400.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/lowbar_neon.jpg 890w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>If there was a time when Oakland’s booming bar scene was regarded as \u003ca href=\"https://eastbayexpress.com/oaklands-dive-bar-aficionados-adapt-to-the-citys-changing-bar-scene-2-1/\">the purview of white hipsters\u003c/a>, by early last year that characterization had increasingly started to feel like it no longer applied. As \u003ca href=\"https://sf.eater.com/21311059/oakland-black-latinx-bipoc-bars-sobre-mesa-low-bar-oeste-pican\">Eater SF\u003c/a> first noted, within a span of a few months, several prominent, upscale-ish, POC-owned spots opened with diverse staffing and serious cocktail programs that reflected their owners’ cultural backgrounds—and all within a few city blocks. Before COVID hit, \u003ca href=\"https://sf.eater.com/2020/2/3/21119819/viridian-uptown-oakland-bar-cocktails-desserts-asian-photos\">Viridian was trumpeting its uniquely Asian American identity\u003c/a> as a cocktail bar, slinging Portuguese egg tarts and sublime drinks inspired by Chinese-American dishes like a tomato beef stir-fry. And \u003ca href=\"https://www.kqed.org/bayareabites/136410/sobre-mesa-brings-afro-caribbean-cocktails-and-light-bites-to-oakland\">Sobre Mesa had a whole Afro-Latino lounge vibe going\u003c/a>, with a deep rum lineup and a small plates menu that drew inspiration from across the African diaspora.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Both of those bars are back up and running now that COVID-related restrictions have started to loosen. For Low Bar, the past year has mostly been a matter of survival, Meyer explains. Investors pulled out, and, unable to finish the build-out of the bar, Meyer and Paez had to pivot to doing a burrito and tamale pop-up called \u003ca href=\"https://www.instagram.com/chanchos_oakland/?hl=en\">Chancho’s\u003c/a> just to keep some revenue coming in. In fact, Meyer says, it was Chancho’s partnership with \u003ca href=\"https://wck.org/\">World Central Kitchen\u003c/a>, celebrity chef José Andrés’ disaster relief organization, that ultimately saved them, paying Chancho’s to provide meals for people in need during the pandemic. “We haven’t missed a single week since July,” Meyer says.\u003c/p>\n\u003cp>As POC-owned, POC-focused craft cocktail bars have become more normalized in Oakland, it’s allowed folks like Meyer and Paez to be a little bit more expansive in the way they define what it means to be, say, a “Chicano bar.” For Meyer, who is Low Bar’s chef, that means he’s put together a \u003ca href=\"https://www.lowbaroakland.com/menus\">food menu\u003c/a> that’s a little less traditional than the old-school burritos and tamales he was serving through Chancho’s. He describes it as “Mexican-ish American bar food,” heavily influenced by his own upbringing near the border of San Diego and Tijuana. Yes, he makes a version of quesabirria, the cheesy birria tacos that are easily \u003ca href=\"https://sf.eater.com/2019/11/21/20937687/el-garage-quesabirria-birria-taco-richmond-instagram\">Tijuana’s most famous culinary export of the moment\u003c/a>. But he also serves a number of dishes that are reflective of the border city’s vibrant fusion food scene: a cheeseburger with salsa verde and, perhaps most notably, a play on a Scotch egg that consists of chorizo coated in ground-up tortilla chips before it gets deep-fried.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As Paez puts it, “The concept of Mexican food is no longer defined by just a taqueria.”\u003c/p>\n\u003cp>On the cocktail front, Paez describes his approach as “low pressure, low stakes, high reward,” with a strong emphasis on all the classics—your negronis and old fashioneds and daiquiris—but also plenty of creative agave and tequila drinks, as befits a Chicano bar.\u003c/p>\n\u003cp>According to Meyer and Paez, if anything has changed in the past five or 10 years, it’s that bar and restaurant patrons in the Bay Area are now actively seeking out different kinds of cultural experiences. “People are more excited about trying new flavors and traditional dishes from people’s backgrounds,” Meyer says. “I’m thrilled to be a part of it.”\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>\u003ci>Low Bar is open for both indoor and outdoor dining and drinking at 2300 Webster Street, Thursday through Sunday from 3–10pm.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "In-Person Theater Returns with Oakland Theater Project’s 'The Waste Land'",
"headTitle": "In-Person Theater Returns with Oakland Theater Project’s ‘The Waste Land’ | KQED",
"content": "\u003cp>\u003cem>“I will show you fear in a handful of dust” –T.S. Eliot, “The Waste Land”\u003c/em>\u003c/p>\n\u003cp>A lone figure (Lisa Ramirez) runs in place, etched against a screen projecting a historical montage that begins and ends with a pandemic. As images span the 1918 Spanish Flu to present-day COVID-19, Ramirez’ face is an anguished rictus. She runs at the pace of a person who knows they cannot outrun that which threatens to overtake them. So begins Oakland Theater Project’s adaptation of T.S. Eliot’s “The Waste Land,” staged as a drive-in concept in the parking lot of the Flax art and design building in Oakland, on Martin Luther King Jr. Way.\u003c/p>\n\u003cp>A polite semi-circle of cars surrounds Ramirez’ modest square of dirt backed by a moss-covered projection screen (designed by Karla Hargrave). Windows are closed, and radios tuned into a micro-transmitted channel. As the April twilight deepens into night, so too does the unease seeping from the screen. A nervy soundscape (created by Elton Bradman) mixes \u003cem>Nevermind\u003c/em> with lounge music with radio static. Archival footage compiled by Erin Gilley flashes across the screen: soldiers and protesters, cracked earth and forest fires, police barricades and atom bombs, doctors and politicians.\u003c/p>\n\u003cfigure id=\"attachment_13896009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-800x595.jpg\" alt=\"\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1920x1428.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez as poet/prophet/people in front of a projection screen for Oakland Theater Project’s ‘The Waste Land.’ \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ramirez herself appears timeless—outside of time—dressed in a deconstructed black suit and a flat-brimmed black hat (costume design by Regina Evans). There’s a touch of Chaplin’s Tramp about her, and more than a touch of Brechtian rogue. Billed as the poet, the prophet, and the people, Ramirez portrays a legion of seekers with singular focus.\u003c/p>\n\u003cp>With the possible exception of “Macavity the Mystery Cat,” “The Waste Land” is probably Eliot’s best-known work. A touchstone of Modernist poetry, its 434 lines traverse a dark landscape of everyday cruelties and conflicting perspectives intoned by the voices of multitudes. Packed with references to mythologies and memories, archetypes and anxieties, the poem reads alternately like a crash course in the “classics” and a bitter repudiation of them. Upon first read, it can appear impenetrable—a criticism leveled at Eliot in his own time—and yet the rhythmic inflections built into the lines give it a disconcerting freshness even 99 years after publication.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, Oakland Theater Project is not the first to adapt “The Waste Land” for the stage. When Ramirez—who is OTP’s Associate Artistic Director—brought up the idea of performing the poem soon after the March 2020 shutdown, she was herself inspired by actor Fiona Shaw, whose own solo performance of it premiered in 1995. Ramirez also floated the idea of staging it as a drive-in experience. A full year later, this realization of her vision is a study in resourcefulness and outside-the-black-box thinking—qualities that frequently characterize OTP’s imaginative, site-responsive presentations.\u003c/p>\n\u003cfigure id=\"attachment_13896013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cars arriving at the check-in point for Oakland Theater Project’s drive-in experience of ‘The Waste Land.’ \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to get approval from Actor’s Equity, OTP had to postpone the production twice in order to be able to meet all required criteria. And while a drive-in experience offers some of the elements of “live-ness” missing from screen-mediated production (notably, a close encounter with a live performer), it still feels like experimentation, not a permanent feature. Especially for a company whose mission is steeped in bridging socio-economic divides and access needs, the requirement to come by car is a big ask. (I, for one, do not drive.) There will be only one live-streamed performance of \u003cem>The Waste Land\u003c/em> (\u003ca href=\"https://www.stellartickets.com/o/oakland-theater-project/events/the-waste-land/occurrences/48d64cc5-a9cc-40c0-85cf-54658b5462c8\">April 29\u003c/a>), and an on-demand video will be available afterward, through May 20. \u003c/p>\n\u003cp>Still, looking ahead to the future of live theater, it’s this kind of willingness to ideate alternative modes of production that will enable companies to create multi-platform experiences with multiple entry points for future audiences.\u003c/p>\n\u003cfigure id=\"attachment_13896010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1920x1358.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez stars in Oakland Theater Project’s The Waste Land. \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this spirit of experimenting that infuses Ramirez’ performance most palpably. Directed by company co-founder Michael Socrates Moran, she slides into and sheds the skins of multiple characters as she circumnavigates the confines of her claustrophobic staging ground. Roaming in the half-light (designed by Dr. Stephanie Anne Johnson), she is at turns a poet, a clairvoyant, a humbled fisher king, a nervous lover, a garrulous bartender, a cad, and a weary traveler. She plunges her hands into a pile of soil, chanting of the fear and the dust. As Tiresias, she dons sunglasses and plucks at a mandolin, bathed in a violet light, reminiscing upon a violet hour. Exiled to an arid plain, she stumbles, crouches, and shouts, cursing the dry thunder and longing for rain.\u003c/p>\n\u003cp>There is (thankfully) little attempt on the part of Literary Manager John Wilkins to reconcile Eliot’s disintegrated vision into a neat narrative arc. In a kaleidoscopic array, each small fragment captures the spotlight for a brief moment before shifting abruptly to the next. The overall effect is not quite poetry and not quite play, but rather a portal into an existential chatter of voices, vying for significance. A voyeuristic peek into the id of an unquiet era. A handful of dust scattered wide.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oakland Theater Project’s ‘The Waste Land’ plays through May 16 (\u003ca href=\"https://www.stellartickets.com/o/oakland-theater-project/events/the-waste-land/occurrences/48d64cc5-a9cc-40c0-85cf-54658b5462c8\">livestream performance on April 29\u003c/a>). Tickets and info \u003ca href=\"https://oaklandtheaterproject.org/waste-land\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“I will show you fear in a handful of dust” –T.S. Eliot, “The Waste Land”\u003c/em>\u003c/p>\n\u003cp>A lone figure (Lisa Ramirez) runs in place, etched against a screen projecting a historical montage that begins and ends with a pandemic. As images span the 1918 Spanish Flu to present-day COVID-19, Ramirez’ face is an anguished rictus. She runs at the pace of a person who knows they cannot outrun that which threatens to overtake them. So begins Oakland Theater Project’s adaptation of T.S. Eliot’s “The Waste Land,” staged as a drive-in concept in the parking lot of the Flax art and design building in Oakland, on Martin Luther King Jr. Way.\u003c/p>\n\u003cp>A polite semi-circle of cars surrounds Ramirez’ modest square of dirt backed by a moss-covered projection screen (designed by Karla Hargrave). Windows are closed, and radios tuned into a micro-transmitted channel. As the April twilight deepens into night, so too does the unease seeping from the screen. A nervy soundscape (created by Elton Bradman) mixes \u003cem>Nevermind\u003c/em> with lounge music with radio static. Archival footage compiled by Erin Gilley flashes across the screen: soldiers and protesters, cracked earth and forest fires, police barricades and atom bombs, doctors and politicians.\u003c/p>\n\u003cfigure id=\"attachment_13896009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-800x595.jpg\" alt=\"\" width=\"800\" height=\"595\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-800x595.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1020x758.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-768x571.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1536x1142.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench-1920x1428.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez3_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez as poet/prophet/people in front of a projection screen for Oakland Theater Project’s ‘The Waste Land.’ \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ramirez herself appears timeless—outside of time—dressed in a deconstructed black suit and a flat-brimmed black hat (costume design by Regina Evans). There’s a touch of Chaplin’s Tramp about her, and more than a touch of Brechtian rogue. Billed as the poet, the prophet, and the people, Ramirez portrays a legion of seekers with singular focus.\u003c/p>\n\u003cp>With the possible exception of “Macavity the Mystery Cat,” “The Waste Land” is probably Eliot’s best-known work. A touchstone of Modernist poetry, its 434 lines traverse a dark landscape of everyday cruelties and conflicting perspectives intoned by the voices of multitudes. Packed with references to mythologies and memories, archetypes and anxieties, the poem reads alternately like a crash course in the “classics” and a bitter repudiation of them. Upon first read, it can appear impenetrable—a criticism leveled at Eliot in his own time—and yet the rhythmic inflections built into the lines give it a disconcerting freshness even 99 years after publication.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, Oakland Theater Project is not the first to adapt “The Waste Land” for the stage. When Ramirez—who is OTP’s Associate Artistic Director—brought up the idea of performing the poem soon after the March 2020 shutdown, she was herself inspired by actor Fiona Shaw, whose own solo performance of it premiered in 1995. Ramirez also floated the idea of staging it as a drive-in experience. A full year later, this realization of her vision is a study in resourcefulness and outside-the-black-box thinking—qualities that frequently characterize OTP’s imaginative, site-responsive presentations.\u003c/p>\n\u003cfigure id=\"attachment_13896013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_preshow_photocredit_NicoleGluckstern.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cars arriving at the check-in point for Oakland Theater Project’s drive-in experience of ‘The Waste Land.’ \u003ccite>(Nicole Gluckstern)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In order to get approval from Actor’s Equity, OTP had to postpone the production twice in order to be able to meet all required criteria. And while a drive-in experience offers some of the elements of “live-ness” missing from screen-mediated production (notably, a close encounter with a live performer), it still feels like experimentation, not a permanent feature. Especially for a company whose mission is steeped in bridging socio-economic divides and access needs, the requirement to come by car is a big ask. (I, for one, do not drive.) There will be only one live-streamed performance of \u003cem>The Waste Land\u003c/em> (\u003ca href=\"https://www.stellartickets.com/o/oakland-theater-project/events/the-waste-land/occurrences/48d64cc5-a9cc-40c0-85cf-54658b5462c8\">April 29\u003c/a>), and an on-demand video will be available afterward, through May 20. \u003c/p>\n\u003cp>Still, looking ahead to the future of live theater, it’s this kind of willingness to ideate alternative modes of production that will enable companies to create multi-platform experiences with multiple entry points for future audiences.\u003c/p>\n\u003cfigure id=\"attachment_13896010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13896010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg\" alt=\"\" width=\"800\" height=\"566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1536x1087.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench-1920x1358.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/04/TheWasteLand_LisaRamirez2_photocredit_CarsonFrench.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lisa Ramirez stars in Oakland Theater Project’s The Waste Land. \u003ccite>(Carson French)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s this spirit of experimenting that infuses Ramirez’ performance most palpably. Directed by company co-founder Michael Socrates Moran, she slides into and sheds the skins of multiple characters as she circumnavigates the confines of her claustrophobic staging ground. Roaming in the half-light (designed by Dr. Stephanie Anne Johnson), she is at turns a poet, a clairvoyant, a humbled fisher king, a nervous lover, a garrulous bartender, a cad, and a weary traveler. She plunges her hands into a pile of soil, chanting of the fear and the dust. As Tiresias, she dons sunglasses and plucks at a mandolin, bathed in a violet light, reminiscing upon a violet hour. Exiled to an arid plain, she stumbles, crouches, and shouts, cursing the dry thunder and longing for rain.\u003c/p>\n\u003cp>There is (thankfully) little attempt on the part of Literary Manager John Wilkins to reconcile Eliot’s disintegrated vision into a neat narrative arc. In a kaleidoscopic array, each small fragment captures the spotlight for a brief moment before shifting abruptly to the next. The overall effect is not quite poetry and not quite play, but rather a portal into an existential chatter of voices, vying for significance. A voyeuristic peek into the id of an unquiet era. A handful of dust scattered wide.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Oakland Theater Project’s ‘The Waste Land’ plays through May 16 (\u003ca href=\"https://www.stellartickets.com/o/oakland-theater-project/events/the-waste-land/occurrences/48d64cc5-a9cc-40c0-85cf-54658b5462c8\">livestream performance on April 29\u003c/a>). Tickets and info \u003ca href=\"https://oaklandtheaterproject.org/waste-land\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Oakland is now accepting nominations for its first-ever Oakland Poet Laureate Program. \u003c/p>\n\u003cp>Oakland’s Cultural Affairs Commission approved the creation of the Oakland Poet Laureate position at a Jan. 25 meeting, and the program will be modeled after similar ones in the Bay Area and across the nation. Uniquely, the city has had a Youth Poet Laureate since 2012 through a program run by the Oakland Public Library—but not a similar role for poets over 18. \u003c/p>\n\u003cp>The inaugural Oakland Poet Laureate will receive a $5,000 honorarium and serve a two-year term beginning in June 2021. During their tenure, the selected poet will deliver an inaugural address, partner with the Oakland Youth Poet Laureate on a collaborative reading series, write one poem commemorating the city, and deliver four readings at various city-owned locations throughout Oakland. \u003c/p>\n\u003cp>[aside postID='news_11856157']Oakland’s new program joins \u003ca href=\"https://aclibrary.org/blogs/post/calling-all-teen-poets/\" rel=\"noopener noreferrer\" target=\"_blank\">Alameda County\u003c/a> and \u003ca href=\"https://www.sccyouthlaureate.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Clara\u003c/a> County programs as the latest in a national wave of interest and engagement with poetry, in part sparked by inaugural National Youth Poet Laureate Amanda Gorman’s performance at the presidential inauguration in January.\u003c/p>\n\u003cp>To be eligible, nominees must be current Oakland residents who have lived in Oakland consistently for at least five years, and must be over the age of 18 with at least two previous works published. They also must have a track record of engagement with Oakland’s creative community. The program aims to “make poetry more accessible across Oakland, while promoting an understanding of the transformative power of this art form.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSehnOsW6lv39RnSI2EMJy4J7sWHR2jWu0aRayvyCMWVDw0C8A/viewform\" rel=\"noopener noreferrer\" target=\"_blank\">nomination form\u003c/a> is open through May 19, and nominees must submit a resume and writing sample. The oversight committee will evaluate nominees based on their command of craft, community engagement, understanding of Oakland’s distinctions and other criteria.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To learn more about the program, visit \u003ca href=\"http://oaklandca.gov/poetlaureate\" rel=\"noopener noreferrer\" target=\"_blank\">oaklandca.gov/poetlaureate\u003c/a> or email \u003ca href=\"mailto:OakPoetLaureate@oaklandca.gov\">OakPoetLaureate@oaklandca.gov\u003c/a>. The nomination form can be found \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSehnOsW6lv39RnSI2EMJy4J7sWHR2jWu0aRayvyCMWVDw0C8A/viewform\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland is now accepting nominations for its first-ever Oakland Poet Laureate Program. \u003c/p>\n\u003cp>Oakland’s Cultural Affairs Commission approved the creation of the Oakland Poet Laureate position at a Jan. 25 meeting, and the program will be modeled after similar ones in the Bay Area and across the nation. Uniquely, the city has had a Youth Poet Laureate since 2012 through a program run by the Oakland Public Library—but not a similar role for poets over 18. \u003c/p>\n\u003cp>The inaugural Oakland Poet Laureate will receive a $5,000 honorarium and serve a two-year term beginning in June 2021. During their tenure, the selected poet will deliver an inaugural address, partner with the Oakland Youth Poet Laureate on a collaborative reading series, write one poem commemorating the city, and deliver four readings at various city-owned locations throughout Oakland. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Oakland’s new program joins \u003ca href=\"https://aclibrary.org/blogs/post/calling-all-teen-poets/\" rel=\"noopener noreferrer\" target=\"_blank\">Alameda County\u003c/a> and \u003ca href=\"https://www.sccyouthlaureate.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Santa Clara\u003c/a> County programs as the latest in a national wave of interest and engagement with poetry, in part sparked by inaugural National Youth Poet Laureate Amanda Gorman’s performance at the presidential inauguration in January.\u003c/p>\n\u003cp>To be eligible, nominees must be current Oakland residents who have lived in Oakland consistently for at least five years, and must be over the age of 18 with at least two previous works published. They also must have a track record of engagement with Oakland’s creative community. The program aims to “make poetry more accessible across Oakland, while promoting an understanding of the transformative power of this art form.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSehnOsW6lv39RnSI2EMJy4J7sWHR2jWu0aRayvyCMWVDw0C8A/viewform\" rel=\"noopener noreferrer\" target=\"_blank\">nomination form\u003c/a> is open through May 19, and nominees must submit a resume and writing sample. The oversight committee will evaluate nominees based on their command of craft, community engagement, understanding of Oakland’s distinctions and other criteria.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>To learn more about the program, visit \u003ca href=\"http://oaklandca.gov/poetlaureate\" rel=\"noopener noreferrer\" target=\"_blank\">oaklandca.gov/poetlaureate\u003c/a> or email \u003ca href=\"mailto:OakPoetLaureate@oaklandca.gov\">OakPoetLaureate@oaklandca.gov\u003c/a>. The nomination form can be found \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSehnOsW6lv39RnSI2EMJy4J7sWHR2jWu0aRayvyCMWVDw0C8A/viewform\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Poet Alan Chazaro, the Piñata Theorist",
"headTitle": "Poet Alan Chazaro, the Piñata Theorist | KQED",
"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=KQINC7837936934&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/alan_chazaro\">Alan Chazaro\u003c/a> uses poetry to explore Bay Area culture, his love for hip-hop, and machismo stereotypes.\u003c/p>\n\u003cp>We \u003ca href=\"https://www.kqed.org/arts/13864326/rightnowish-alan-chazaro-navigates-machismo-with-poetry\">first talked\u003c/a> in 2019 about his first poetry collection, \u003ca href=\"https://www.blacklawrence.com/this-is-not-a-frank-ocean-cover-album/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This Is Not a Frank Ocean Cover Album. \u003c/em>\u003c/a>Since then, Chazaro moved to Mexico, travelled through Central and South America, and then, ultimately, returned to the Bay Area. Chazaro has also been dabbling in the journalism trade– with stories that range from \u003ca href=\"https://thebolditalic.com/the-forgotten-san-francisco-warrior-b746d01d6ac4\" target=\"_blank\" rel=\"noopener noreferrer\">the first woman to play\u003c/a> professional men’s basketball to the tale of a \u003ca href=\"https://www.sfgate.com/athletics/amp/hal-gordon-oakland-a-s-hot-dog-vendor-profile-16099242.php\" target=\"_blank\" rel=\"noopener noreferrer\">notable Oakland A’s hot dog vendor.\u003c/a> Chazaro has even freelanced \u003ca href=\"https://www.kqed.org/arts/13893070/on-his-solo-debut-the-seshens-kumar-butler-puts-activists-voices-front-and-center\" target=\"_blank\" rel=\"noopener noreferrer\">for KQED.\u003c/a>\u003c/p>\n\u003cp>In addition to all of that, Chazaro just published his second book, \u003ca href=\"https://blacklawrencepress.com/books/pinata-theory/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pińata Theory, \u003c/em>\u003c/a>which takes a deeper dive into his Mexican-American identity, hip-hop and deconstructing concepts of masculinity.\u003c/p>\n\u003cp>Since April is \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>, it seems like a good time to revisit our first conversation. And because so much has changed since then– traveling, book publication and more– we brought him back to give us a life update and a poem.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/1a0EFQmuKDKXSoXl8CwTrt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are lightly edited excerpts of our conversation and the poem Alan Chazaro chose to recite for this episode.\u003c/strong>\u003c/em>\u003c/p>\n\u003ch2>Ode to Kendrick Lamar\u003c/h2>\n\u003cp>There are nights like tonight when it rains / biblical amounts of everything and music plays while I drive somewhere I usually don’t / go after dark because I get lost in my head / while my wife plans for next week and I try to decide where to park and when to / leave but instead I down / IPAs and smash In N Out burgers into my gut before the smallest / words crawl out / forced. Some days I feel the dark rushing / a tidal wave of fuck / you’s cresting my insides. / I double-knot my Tims and avert eye contact in a hoodie and baseball cap. / I am not this façade / have never sailed the fist into a stranger’s / skull but there is a thunderstorm / coming and I must know my way. Tomorrow / I’ll drive a pickup to the end / of the road on the other side of 880. I’ll park and read / poetry while 18-wheelers rumble within inches of my chest. It is what excites / and repels my attention while riding this / neighborhood. How the blood of sweet grass reminds me of something else.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Pen: Thank you. Thank you for sharing that.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: Bring us into your world, what was going on when you wrote that poem?\u003c/em>\u003c/p>\n\u003cp>Alan: That particular poem I wanna say was written in like 2015. I remember that because I was a graduate student at the University of San Francisco in the creative writing program. And at that time I was living in South Hayward and I used to have to take the bus to get to the BART and then the BART all the way to the city…Kendrick had just dropped his secret album called Untitled Unmastered… I was bumping it a lot because I was riding the BART, or I was on the bus to like occupy my mind… I wanted to kind of honor Kendrick as an artist who is unafraid to just put out raw art and be himself, present him and his community in a sort of different way, right. It’s not always a stereotypical narrative. And when he does tell his narratives, I feel a sense of fullness and humanity in his work.\u003c/p>\n\u003cp>Alan: That’s what I love about poetry and writing in general, because when I read that poem, it transports me back to that moment in my life, when I was this graduate student, that was just grinding… I had a full ride scholarship. My only thing was reading, consuming poetry, and sort of vibing with different art forms and just being present in the Bay Area as fully as I could.\u003c/p>\n\u003cp>\u003cem>Pen: Imagine if you could just be a grad student at all times, [laughs] like what you just described should be life, right?\u003c/em>\u003c/p>\n\u003cp>Alan: [laughs] yeah.. I know it sounds cliché, but I always tell my students, like, ‘how lucky we that our purpose in this space is that we’re trying to grow in our craft, in our sense of knowing the world, in our in our sense of voice and possibility,’\u003c/p>\n\u003cp>Alan: Ya know, I try not to do [tell them that] too much because then they’re going to be like, ‘man, shut up, dude.’ But I think when you understand that that’s not a given in the world, you start to really appreciate how beautiful it is that our job is to learn right now.\u003c/p>\n\u003cp>\u003cem>Pen: Since interviewing you the first time I’ve been keeping up with you writing, your growth and seeing your byline in 48 Hills and S.F. Gate and being shared through the newsletters with The Warriors. What type of growth have you experienced behind the scenes? What have you learned about poetry?\u003c/em>\u003c/p>\n\u003cp>Alan: It’s an art form of the interior. To me it’s like a meditative space. When I’m writing poems, I want to go inward and I want to reflect and I want to pick through the fragments of myself and sort of grapple with all of these layers of my identity.\u003c/p>\n\u003cp>Alan: But then there’s other days where I’m feeling very social and I want to talk to people and tell other people’s stories. So I’ve been doing a lot more journalism and I’ve found that I can apply my poetic sensibilities and my poetic craft to other forms of living, but particularly of writing.\u003c/p>\n\u003cp>\u003cem>Pen: Constant growth\u003c/em>\u003c/p>\n\u003cp>Alan: Mmhmm\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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"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=KQINC7837936934&light=true\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/alan_chazaro\">Alan Chazaro\u003c/a> uses poetry to explore Bay Area culture, his love for hip-hop, and machismo stereotypes.\u003c/p>\n\u003cp>We \u003ca href=\"https://www.kqed.org/arts/13864326/rightnowish-alan-chazaro-navigates-machismo-with-poetry\">first talked\u003c/a> in 2019 about his first poetry collection, \u003ca href=\"https://www.blacklawrence.com/this-is-not-a-frank-ocean-cover-album/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>This Is Not a Frank Ocean Cover Album. \u003c/em>\u003c/a>Since then, Chazaro moved to Mexico, travelled through Central and South America, and then, ultimately, returned to the Bay Area. Chazaro has also been dabbling in the journalism trade– with stories that range from \u003ca href=\"https://thebolditalic.com/the-forgotten-san-francisco-warrior-b746d01d6ac4\" target=\"_blank\" rel=\"noopener noreferrer\">the first woman to play\u003c/a> professional men’s basketball to the tale of a \u003ca href=\"https://www.sfgate.com/athletics/amp/hal-gordon-oakland-a-s-hot-dog-vendor-profile-16099242.php\" target=\"_blank\" rel=\"noopener noreferrer\">notable Oakland A’s hot dog vendor.\u003c/a> Chazaro has even freelanced \u003ca href=\"https://www.kqed.org/arts/13893070/on-his-solo-debut-the-seshens-kumar-butler-puts-activists-voices-front-and-center\" target=\"_blank\" rel=\"noopener noreferrer\">for KQED.\u003c/a>\u003c/p>\n\u003cp>In addition to all of that, Chazaro just published his second book, \u003ca href=\"https://blacklawrencepress.com/books/pinata-theory/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Pińata Theory, \u003c/em>\u003c/a>which takes a deeper dive into his Mexican-American identity, hip-hop and deconstructing concepts of masculinity.\u003c/p>\n\u003cp>Since April is \u003ca href=\"https://poets.org/national-poetry-month\" target=\"_blank\" rel=\"noopener noreferrer\">National Poetry Month\u003c/a>, it seems like a good time to revisit our first conversation. And because so much has changed since then– traveling, book publication and more– we brought him back to give us a life update and a poem.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/1a0EFQmuKDKXSoXl8CwTrt\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Below are lightly edited excerpts of our conversation and the poem Alan Chazaro chose to recite for this episode.\u003c/strong>\u003c/em>\u003c/p>\n\u003ch2>Ode to Kendrick Lamar\u003c/h2>\n\u003cp>There are nights like tonight when it rains / biblical amounts of everything and music plays while I drive somewhere I usually don’t / go after dark because I get lost in my head / while my wife plans for next week and I try to decide where to park and when to / leave but instead I down / IPAs and smash In N Out burgers into my gut before the smallest / words crawl out / forced. Some days I feel the dark rushing / a tidal wave of fuck / you’s cresting my insides. / I double-knot my Tims and avert eye contact in a hoodie and baseball cap. / I am not this façade / have never sailed the fist into a stranger’s / skull but there is a thunderstorm / coming and I must know my way. Tomorrow / I’ll drive a pickup to the end / of the road on the other side of 880. I’ll park and read / poetry while 18-wheelers rumble within inches of my chest. It is what excites / and repels my attention while riding this / neighborhood. How the blood of sweet grass reminds me of something else.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Pen: Thank you. Thank you for sharing that.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Pen: Bring us into your world, what was going on when you wrote that poem?\u003c/em>\u003c/p>\n\u003cp>Alan: That particular poem I wanna say was written in like 2015. I remember that because I was a graduate student at the University of San Francisco in the creative writing program. And at that time I was living in South Hayward and I used to have to take the bus to get to the BART and then the BART all the way to the city…Kendrick had just dropped his secret album called Untitled Unmastered… I was bumping it a lot because I was riding the BART, or I was on the bus to like occupy my mind… I wanted to kind of honor Kendrick as an artist who is unafraid to just put out raw art and be himself, present him and his community in a sort of different way, right. It’s not always a stereotypical narrative. And when he does tell his narratives, I feel a sense of fullness and humanity in his work.\u003c/p>\n\u003cp>Alan: That’s what I love about poetry and writing in general, because when I read that poem, it transports me back to that moment in my life, when I was this graduate student, that was just grinding… I had a full ride scholarship. My only thing was reading, consuming poetry, and sort of vibing with different art forms and just being present in the Bay Area as fully as I could.\u003c/p>\n\u003cp>\u003cem>Pen: Imagine if you could just be a grad student at all times, [laughs] like what you just described should be life, right?\u003c/em>\u003c/p>\n\u003cp>Alan: [laughs] yeah.. I know it sounds cliché, but I always tell my students, like, ‘how lucky we that our purpose in this space is that we’re trying to grow in our craft, in our sense of knowing the world, in our in our sense of voice and possibility,’\u003c/p>\n\u003cp>Alan: Ya know, I try not to do [tell them that] too much because then they’re going to be like, ‘man, shut up, dude.’ But I think when you understand that that’s not a given in the world, you start to really appreciate how beautiful it is that our job is to learn right now.\u003c/p>\n\u003cp>\u003cem>Pen: Since interviewing you the first time I’ve been keeping up with you writing, your growth and seeing your byline in 48 Hills and S.F. Gate and being shared through the newsletters with The Warriors. What type of growth have you experienced behind the scenes? What have you learned about poetry?\u003c/em>\u003c/p>\n\u003cp>Alan: It’s an art form of the interior. To me it’s like a meditative space. When I’m writing poems, I want to go inward and I want to reflect and I want to pick through the fragments of myself and sort of grapple with all of these layers of my identity.\u003c/p>\n\u003cp>Alan: But then there’s other days where I’m feeling very social and I want to talk to people and tell other people’s stories. So I’ve been doing a lot more journalism and I’ve found that I can apply my poetic sensibilities and my poetic craft to other forms of living, but particularly of writing.\u003c/p>\n\u003cp>\u003cem>Pen: Constant growth\u003c/em>\u003c/p>\n\u003cp>Alan: Mmhmm\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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